GRAMMAR OF ELOCUTION 

ADAPTED TO THE 

USE OF TEACHERS AND LEARNERS 

IN THE 



%xt of J^abing; 



BEING 

A DIGEST OF THE PRINCIPLES OF VOCAL DELIVERY. 

AN INDUCTIVE SYSTEM, IN THREE PARTS: 
ARTICULATION, INTONATIOJJ, AND MEASURE. 

AS TAUGHT AT THE VOCAL INSTITUTE, PHILADELPHIA. 



H. 0. APTHORP, A.M., M.D., 
t * 

PROFESSOR OF ELOCUTION. 



Istis quicunque laborat 
Edico propere ingenuas descendere ad artes. 




PHILADELPHIA: 

PUBLISHED BY II. COWPERTHWAIT & CO. 

BOSTON: 

SHEPARD, CLARK & BROWN. 

1858. 




T^ 






Entered, according to Act of Congress, in the year 1858, by 

II. 0. APT1I0RP, 

In the Clerk's Office of the District Court of the United States, in and for 
the Eastern District of Pennsylvania. 



PRINTED BY SMTilf & PETERS, 

Franklin Buildings, Sixth Stroet, below Arcb, 

Philadelphia. 



rrt 



tf 



AUTHOE'S PEEFACE. 



It is not necessary, at this late day, to speak of the 
a^portac of learning to read. 

Tha* this department of education suffers general 
neglect, seems also to be conceded. But he that shall 
be successful in discovering the best mode of teaching 
this elegant Art, will deserve to be accounted a benefac- 
tor to his race. 

The teacher of this branch has difficulties to encoun- 
ter which do not appear to beset the path of those who 
undertake the instruction of pupils in other departments 
of learning ; the most serious of these difficulties, how- 
ever, do not show themselves in that department which 
I have chosen to constitute the First Part of my system 
of instruction ; although it is certain that these difficul- 
ties are not only diminished, but in a great measure dis- 
appear under that thorough and rigid training of the 
voice which the pupil should undergo before he reaches 
the Second Part. 

They disappear, in part, without being made a subject 
1* (v) 



VI AUTHOR S PREFACE. 

of his attention, and at a period of his progress when it 
would be difficult to make him understand what they 
are. 

The way is prepared for their removal. It is prepared 
by the mechanical discipline which the voice undergoes 
during the training of the First Part, to encounter the 
task which would otherwise have seemed so formidable. 

It is true that carelessness of pronunciation, incorrect 
utterance, hurried and imperfect articulation, and gene- 
ral misuse of the physical organ of voice, are the faults 
which first meet the ear, and stand out prominent among 
the defects of common speech and bad reading ; and 
these are indeed the vices which must be attacked at the 
outset ; the reforming of which must engage the teacher 
from the very commencement of his instructions. 

But the reform of these defects does not present so 
difficult a problem to solve as the subject of Intonation, 
which follows. Articulation is indeed the first essen- 
tial, the foundation indispensable for anything like a tole- 
rable style of reading : but where there is no natural im- 
pediment or physical imperfection in the organs, this may 
usually be taught, and later graces of pronunciation 
likewise, without insuperable difficulty, and without un- 
usual powers. But I am constrained to acknowledge 
that great imperfection exists in the common modes of 
teaching the inflections or slides of voice (as they are 
sometimes called), in regulating the pitch and melody 
of sentences, and that difficulties occur which do not 
attach to other subjects, or to other branches of this 
department in education. 

I. The first part of this book consists chiefly in a 



AUTHOR S PREFACE. Vll 

series of exercises for the mechanical training of the 
voice. These exercises are progressive, and the method 
is strictly inductive throughout ; a thorough command 
of each successive stage of progress being requisite to 
prepare the pupil advantageously to enter upon the 
next. 

It is obvious that the puerile and tedious character of 
these exercises must render them the least interesting 
or agreeable part of this beautiful study ; but they are 
not the less important on this account ; and if asked at 
this late stage of my experience as a teacher, what par- 
ticular part I esteem of the most vital importance in 
making a reader, I should be compelled to admit, nay, 
should most emphatically declare, "this First Part." 

The essential element of fine reading, the necessary 
basis of excellence, must be a perfectly correct, clear, 
and distinct Articulation. To this subject, then, is the 
first portion of this book devoted ; the training of the 
voice and ear to the correct utterance and the nice dis- 
crimination of sound. No one can enter upon the study 
of this branch without discovering, at a very early stage 
of his progress, that Vocal Gymnastics, or exercises for 
exploding, must be the means of discipline for the voice. 
All teachers have agreed upon this, and have prepared 
exercises for the purpose, whether constituted of con- 
nected language in sentences, or of the elementary 
sounds, and syllables made up of these sounds. Such 
practice has been emphatically enjoined by the most 
distinguished and able masters. Professors Thehvcll 
and Barber regarded it as indispensable. Dr. Comstock 
has constructed exercises involving all the elements of 
speech, which are admirably arranged in syllables and 



AUTHOR S PREFACE. 



imaginary words, and has used them with great success 
in developing and bringing out the voice. 

To this species of exercises I have given the prefer- 
ence over all others, for the same reason that pupils in 
music are required to practise upon written exercises or 
" etudes/' which are likewise progressive to the extent 
of involving all possible successions, at least such as are 
likely to be encountered in the common course of musi- 
cal composition. In the same way and for the same 
reason the various syllabic combinations and sequences 
of our very difficult language must be practised by 
themselves ; and thus the organs become accustomed to 
each, so that no syllable will be likely to be mispro- 
nounced when occurring in literature, in whatsoever 
position it may be found. 

Pronunciation is of course a prominent subject of 
study and practice taught in the first division, or that 
we are now speaking of. As soon as any teacher under- 
takes this branch, he is at once necessarily driven to 
consider language under its elementary form, and he 
therefore resolves it into those ultimate elements, so to 
speak, from which it seems to have been formed. 

Philologists differ a little in regard to the number of 
these ; but they are usually said to be about forty. No 
one counts more than forty -three, and I believe none 
less than thirty seven. Out of the largest number, 
several may be regarded as being made up of two sounds ; 
and if so, are not strictly entitled to the name of ele- 
ments. But, as it is not necessary or useful for practi- 
cal purposes to resolve the acknowledged elements still 
further, we give them this name, with perhaps equal 



author's preface. ix 

propriety to that with which water is thus designated, 
although in fact resolvable into two distinct gases. 

I have made it a principle not to " cavil on the ninth 
part of a hair," and will not hold an argument with any 
man on such questions as whether the sound of " d" 
enters into the word " bridge" more than it does into 
'he word " George." I therefore suppose my Table of 
Elements, as it differs but slightly from those of other 
modern masters, will not be seriously objected to on the 
score of its imperfections, either from deficiency or re- 
dundance. 

The chapter on Pronunciation I hope to render more 
complete in a later edition. In this I have shown, as 
far as I am able to do, how we may best meet the want 
(certainly not a small one) of a general standard of 
pronunciation ; and I am convinced that no one who is 
familiar with its contents, and has formed his habits 
accordingly, need ever be charged with vulgarity of 
pronunciation ; nor is there any reason why he should 
fall into the errors of the illiterate. In the chapter just 
spoken of, much will be found which may seem to be 
more suitable for the preface, or which might have been 
embodied with introductory remarks. But as the preface 
is not always read by pupils, I have seen fit to include 
it in my text. 

II. The subject of Intonation has engaged the 
thoughts and occupied the study of earnest and able 
scholars. Men of taste and those having an appre- 
ciating ear for sound have always been offended by 
gross violations of it ; by monotony, or by indiscrimi- 
nate shifting of pitch. They have always recognised 



AUTHOR 6 PREFACE. 



the beauty of agreeable intonation ; but few writers 
have even hinted at a practical mode of inculcating a 
chaste melody in the utterance of language. 

It is true that Dr. John Walker, the distinguished 
author of a pronouncing dictionary, devoted much time 
to the study of inflections ; and carefully investigated 
the principles of the upward and downward slides of 
voice. He was a writer of the last century ; and in the 
second edition of his treatise he explained the circum- 
flex as a combination of the two inflections upon the 
same syllable. But the measure of these inflections, 
how far the voice should be carried in its upward or 
downward movement, did not enter into the conditions 
prescribed by this accomplished and excellent philologist. 
His theory of inflections was new, original, and highly 
interesting. And his rules are the only ones, so far as 
I have been able to learn, which have been in vogue for 
considerably more than half a century. That is to say, 
nothing which can claim to be a system of inflection, 
and usually taught as such, has had its origin, and been 
generally adopted, used, or referred to, since the publi- 
cation of Dr. Walker's book. 

" The Philosophy of the Human Voice" was published 
in 1827 in Philadelphia by Dr. James Rush. In this most 
interesting and valuable treatise the principles of Inflec- 
tion have been further investigated ; and the science of 
the voice may date a new era of its progress, from the 
publication of this work. Not, however, that the edu- 
cational world was impelled immediately to avail itself 
of whatever light might have been thrown upon vocal 
science, or the subject of inflection, by the writings of 
this author ; but that men of science, if such there were, 



AUTHOR S PREFACE. ■ XI 

and all curious students of the voice, learned in " The 
Philosophy of the Human Voice" that the measure of 
inflections, as well as their direction, might be deter- 
mined by an infallible guide, and subjected to rules both 
scientific and practical in their character. The true 
measure of vocal inflections must be the musical scale ; 
there can be no other. Sound is essentially music, or 
the substratum of music. Music is only a modification 
of sound. Sound may indeed be estimated in quantity, 
or by its greater or less degree of intensity, if you please, 
without any reference to musical science, or the laws of 
melody; but when we speak of inflections, we mean 
change of 'pitch ; and in no possible way can this pro- 
perty in sound, this change of pitch, be estimated, other 
than by referring it to the musical scale. 

To do this with accuracy, it may be replied, must be 
attended with difliculty. To this I answer, first, that 
excellence in any science is not to be obtained without 
encountering difficulties. And, secondly, that such is 
the condition of taste in this regard, at the present day, 
and so low the standard of excellence, as to admit of 
much improvement, even without aspiring to a perfectly 
accurate measurement of the inflections, even if this 
were to be desired ; and to this I add that no such unde- 
viating coincidence is necessary, or even desirable 
between the vocal inflections and the intervals of the 
musical scale. But it will be readily admitted that 
nothing worthy the name of science can be written on 
the subject of Intonation, without having something in 
view as a measure or guide which may be referred to, to 
test the width or measure of inflections. That such a 
measure is found in the intervals of music, must be at 



AUTHOR 8 PREFACE. 



once conceded by every one who will take the pains to 
examine the valuable work above referred to. And the 
mode of making the application of those intervals to the 
vocal inflections in speech, is carefully taught in the 
pages of this little book. 

I would finally remark, with especial reference to the 
subject of appropriating musical intervals to the voice 
in reading, that it is a matter on which a broad latitude 
of opinion may reasonably exist. That is, it may be 
thought unnecessary, at the present stage of progress in 
education, to carry science very far into instructions in 
reading. It may be said, perhaps, by many, that it is 
all-sufficient for the wants of education in the present 
day, to inculcate a style of reading by common method, 
which shall be free from palpable defects in regard to 
Intonation, without an adjustment according to science, 
of such points as the precise measure of the inflections 
of the voice. Such an opinion finds all charity, even 
among those who believe in the expediency of making 
these subjects more a matter of science than they have 
yet been considered. But this does not alter the fact 
that a step of advancement is made in vocal science. 
And whenever it shall please the philologist or the philo- 
sopher, or the educational world, if you please, to apply 
strict scientific principles to the subject of speech ; 
whenever the study of elocution and the practice of 
oratory shall become a science, and subjected to rules 
of excellence as other branches have been ; it must and 
can only be so taught by the method and principles above 
referred to and inculcated by Dr. Rush. 

III. Measure of Speech, or that property in language 



AUTHOR S PREFACE. Xlll 

which is usually treated under the head of Rhythm, con- 
stitutes one of the most interesting features in language, 
when considered with reference to the effect of reading 
on the ear, of the various styles and character of com- 
position. 

Joshua Steele, an English writer of the last century, 
published an ingenious work, in which he explained the 
principles of measure. And, although Mr. John Thel- 
well, of London, a very distinguished elocutionist, has 
subsequently made use of this principle, and scored 
exercises in written composition for the instruction of 
his pupils, yet I am constrained to believe that very little 
attention has been since paid to the subject by practical 
teachers in this country. 

I am led to this conclusion by an examination of the 
books which mention it at all, as well as by personal 
conversation with teachers of more or less eminence, 
many of whom declare it to be irreconcilable with a 
tasteful and correct reading of language, and therefore 
useless. 

Some teachers, either for want of correctness in ear, or 
from the inability, from some cause or other, to appreciate 
harmonious utterance, are unable to read scored exer- 
cises according to the principles in question ; and there- 
fore unable to teach it. Others contend that the practice 
of such reading must inevitably have an unfavorable 
effect upon the manner of reading, as it imposes a cer- 
tain restraint, and produces a measured regularity in all 
sorts of reading, both poetry and prose. 

This last objection is worthy of a candid consideration, 
and were it not contradicted by the daily experience of 
many years, would certainly have an important bearing 
2 



XIV AUTHOR S PREFACE, 

upon my future practice in teaching. But it surely does 
not exonerate a teacher from the obligation of explaining 
to his pupils one of the most beautiful laws of relation 
(so to speak) between the functional requirements of 
respiration and the harmonious utterance of language, 
which can be found in the records of philosophical in- 
vestigation. 

The use of machinery in matters of education is open 
to some reasonable objections ; while it is opposed with 
a conservative pertinacity which frequently wants the 
sanction of reason. Practical teachers find a stringent 
necessity for system. Modes and methods must be em- 
ployed, if it were only to render their tasks endurable. 
But it devolves upon them to divest their systems, as 
far as possible, of the objectionable features and harmful 
results which may be in a degree incident to the nature 
of modes and methods. 

This prejudice against systems and mechanical aids is 
not wholly without foundation. It is, doubtless, to be 
ascribed in part, to the injudicious application which has 
been made, of some systems. But "usus non tollit 
abusum" — the abuse of a thing does not abrogate the just 
and proper application of it. And when we consider 
the nature of the principle now in question, that it is 
not a fanciful contrivance gotten up as a plausible expe- 
dient ; nor an illustration merely of some analogous 
facts in nature ; but simply the statement of our inner 
organization ; the necessary result of our physical 
economy ; the written exponent of what takes place 
beyond our control ; I see no proper light in which to 
view this plan of scoring language, other than that of 
a beautiful adaptation of our physical powers to the 



AUTHOR S PREFACE. XV 

harmonious flow of speech ; or to speak, perhaps, more 
definitely, it is the accommodating to the necessities of 
our system with regard to respiration, the best possible 
utterance of written language. 

The perfect correctness of Mr. Steele's theory is ad- 
mitted by the most distinguished philologists alive ; and 
the value of objections raised against its application, or 
rather of the prejudices existing, has been sufficiently 
tested by my own experience, to warrant me in continu- 
ing to teach it, and to recommend it to others. 

I have therefore made the subject so plain, as to enable 
almost any student to put it in practice without much 
aid from a teacher ; or so simple, that any person at all 
familiar with music, may master the art of reading 
scored language, in less than an hour. At all events, 
those to whom it may not seem desirable to study the 
subject of Rhythm at all, of course may neglect or ignore 
this scoring of language ; while those who admit that 
this property in the movement of voice should be treated 
scientifically, will find themselves reduced to the alter- 
native of accepting this theory, founded as it is in 
nature ; or they must despair of deriving benefit from 
any one having a less exalted origin. 

My daily experience has constantly taught me that 
what is wanted in the present condition of education in 
order to produce a reform in reading, is first a thorough 
training of the voice by suitable exercise, in order to 
lay a foundation for after instruction. 

My argument in favor of such a series of exercises 
as the book before us contains, is that the ear is in no 
danger of being misled by the various inflections which 
are so inseparable from expressive language ; and thus 



XVI AUTHOR S PREFACE. 



the teacher is enabled to lead the voice both as regards 
pitch and inflection, until it is divested of the latter 
property, and utters an element or a syllable, almost like 
a note of music. Now, I maintain that this subject of 
inflection can be taught in no other way, than by first 
divesting the utterance of all inflection. 

Written sentences are no adequate substitute for 
vocal exercises upon unmeaning syllables ; and cannot 
supply their place in rudimental teaching, the opinion 
of a writer of great taste and culture to the contrary 
notwithstanding. "For," says Dr. Porter, "as vocal 
sounds are intended to convey thought, and these simple 
elements signify nothing of themselves, the pupil is re- 
luctant to exercise his voice upon them with sufficient 
force to answer the purpose." The pupil must overcome 
his reluctance, for the simple reason that expressive 
language conveys thought and involves inflection ; which 
must now be dispensed with. 

It is not an answer to this remark to say that many 
speakers inflect well, judiciously, and agreeably to the 
ear who never knew the meaning of the term. This 
may be true ; but will such a speaker easily succeed in 
transferring his habits of inflection to a pupil ? Can he 
teach the necessary arts for the management of the voice 
by the rule suggested by the learned Dr. Walker, " Read 
as I read?" This is a question upon which I am not 
about to pronounce "ex cathedra." And if I should 
do so, my reasoning might fail to convince the multitude 
of sceptics as to the imperative need of science, in car- 
rying forward all sorts of reform. 

Neither would I be understood to say that I esteem 
it an easy thing to reduce the practical teaching of elo- 



AUTHOR S PREFACE. XV11 

cution wholly to a system of rules, which may be incul- 
cated and enforced with the same certainty and success 
which attends the teaching of the exact sciences (so 
called). Yet it may be maintained with confidence, that 
whenever it shall seem to those who have culture and 
conscience, and can command influence in education, to 
be expedient to place the acquisition of good reading 
upon an equal footing in importance, with other arts, it 
will be found necessary to commence the study of it by 
a course of simple exercises, elementary at first and 
wholly detached from the sentiments involved in lan- 
guage. The mechanical training of the voice must first 
be thoroughly performed in order to prepare it for that 
perfection hinted at in the chapter on Emphasis, where 
it is maintained in effect that the acme of excellence 
must consist in having such a command of the legitimate 
and normal use of the voice in its chaste simplicity, as 
to be able safely to dispense with the unnatural subter- 
fuges of ranting and noise. 

With these preliminary remarks, the following pages 
are offered to the educational world, not claiming the 
originality of a work of discovery, but as a practical 
system of teaching, drawn together from the whole 
range of the literature of Elocution, thoroughly tested 
by long experience in its use, and freed of everything 
which is not necessary and useful in its direct application 
to the instruction of readers. 

H. 0. A. 



CONTENTS 



GENERAL DIVISION. 

Page 25. 



PART I. 
CHAPTER I. 

ANALYSIS OF LANGUAGE. 

ELEMENTS OP SPEECH — VOCALITY — VOWELS — SOB-YOWELS — ASPIRATES 

— SIGNS — EXPLOSION . .27 

CHAPTER II. 

TABLE OF ELEMENTS. 
NOTATION OP SIGNS 30 

CHAPTER III. 

FAULTS OF THE ALPHABET. 

THE SAME SIGN USED FOR DIFFERENT SOUNDS — THE SAME ELEMENT RE- 
PRESENTED BY DIFFERENT SIGNS 33 

(19) 






XX CONTENTS. 

CHAPTER IV. 

EXERCISES IN ARTICULATION. 

Page 38. 
CHAPTER V. 

LIST OF WORDS DISPLAYING THE USE OF ALL THE ELEMENTS — ANALYSIS 

OF SYLLABLES — STRESS 42 

CHAPTER VI. 

COGNATES. 

Page 47. 
CHAPTER VII. 

ACCENT. 

Page 51. 
CHAPTER VIII. 

COMBINATIONS OF CONSONANT ELEMENTS. 

Page 59. 
CHAPTER IX. 

SOUNDS OF ' W ; AND ' WE..' 

THE LETTER ' h' — THE INDEFINITE ARTICLE AND THE PARTICLE AN — 

PROMISCUOUS SENTENCES FOR EXERCISES IN PRONUNCIATION . . 66 

CHAPTER X. 

QUALITY OF VOICE. 
NASALITY — ASPIRATION — HEAD TONES 74 

CHAPTER XI. 

GRACES OF DELIVERY. 

THE RHETORICAL PAUSE — EVENNESS OF TONE — NATURE OF HEAVY OR 
ACCENTED SYLLABLES — QUANTITY — SHORT ACCENTED SYLLABLES — 
FORCE OF PERCUSSION — LIST OF WORDS ADAPTED TO THE DISPLAY OF 
QUANTITY — THE VANISH — ABRUPTNESS — TRANSITION . . .77 



CONTENTS. 

CHAPTER XII. 

PRONUNCIATION. 

STANDARD OF PRONUNCIATION — ERRORS OP THE VULGAR — ERRORS OF 

THE ERUDITE — CUSTOM — COMMON ERRORS CLASSIFIED — LIST OF WORDS 

IN COMMON USE, ACCENTUATED ACCORDING TO THE MOST APPROVED 

AUTHORITY 



PART II. 



CHAPTER I. 

INFLECTION PITCH CADENCES. 

RULE FOR ASCERTAINING KEY-NOTE OR NAT ORAL PITCH OF VOICE . . 97 

CHAPTER II. 

CADENCE. 

Page 100. 
CHAPTER III. 

INFLECTION. 
DISCRETE AND CONCRETE INTERVALS — MEASURE OF INFLECTIONS . .102 

CHAPTER IY. 

THE INTERVALS OF THE MUSICAL SCALE. 
THEIR APPLICATION AND SIGNIFICATION — CLOSE INTONATION — "WIDE INTO- 
NATION — NOTATION OF INFLECTION — EXAMPLES OF PASSAGES MARKED 
FOR INFLECTION — EXCELLENT ILLUSTRATION FROM SCRIPTURE — MEA- 
SURE OF INFLECTIONS SOMEWHAT PRECARIOUS — NO UNALTERABLE 
PRESCRIPTION OF INTERVALS POSSIBLE 107 

CHAPTER V. 

EMPHASIS. 

ERRONEOUS VIEWS OF EMPHASIS — INFLECTION A MEANS OF EMPHASIS 

TOO FREQUENT EMPHASIS OBJECTIONABLE, AS DESTROYING THE HAR- 
MONY OF LANGUAGE — A RETURNING MELODY TO BE AVOIDED — DIATONIC 
MELODY OF SPEECH 113 



XXU CONTENTS. 

CHAPTER VI. 

TRANSITION OF VOICE. 
PARENTHESIS — PASSAGE FROM "RICHARD II." MARKED FOR INFLECTION 1J6 

CHAPTER VII. 

THE STAGE WHISPER. 
QUOTATIONS FROM " TWELFTH NIGHT," FOR PRACTICE UPON STAGE WHIS- 



118 



PART III. 
CHAPTER I. 



PRELIMINARY CONSIDERATIONS INTRODUCTORY TO THE SUBJECT OF 
MEASURE. 

POWER OF APPRECIATING RHYTHM — MONOSYLLABIC PROPERTY OF THE 
ENGLISH LANGUAGE — CLASSICAL TERMS: — BEAUTY — THE ANGLO-SAXON 
ELEMENT — STRENGTH — REQUISITES FOR A MODEL STYLE OF COMPOSI- 
TION — PERTINENT QUOTATION FROM " MACBETH" . . . .121 

CHAPTER II. 

PHILOSOPHICAL INVESTIGATION OF MEASURE. 

DOUBLE FUNCTION OF THE LARYNX — NECESSITY OF THE APPORTION- 
MENT EXPLAINED — TWO ACCENTED SYLLABLES CANNOT BE UTTERED 
BY A SINGLE EFFORT OF VOICE — ONE ACCENTED AND FOUR UNAC- 
CENTED SYLLABLES MAY BE UTTERED BY A SINGLE EFFORT OF VOICE 

REQUISITES TO CONSTITUTE A MEASURE — A SINGLE SYLLABLE MAY 

CONSTITUTE A MEASURE — SYLLABLES OF INDEFINITE QUANTITY — DIS- 
TINCTION BETWEEN ACCENTED SYLLABLES — NOTATION OF MEASURE, 
OR SCORING OF LANGUAGE — BEATING TIME — DIFFICULTY OF BREAKING 
UP THE ASSOCIATION — RESOURCE TO OBVIATE THIS DIFFICULTY — REST 
IN THE SECOND MEMBER OF A MEASURE NOT DIFFICULT TO OBSERVE — 
REST IN THE FIRST MEMBER DIFFICULT — REASON EXPLAINED — DETAIL- 
ED ANALYSIS OF MEASURE ILLUSTRATED BY PASSAGE FROM " YOUNG" 126 



CONTENTS. 



XX111 



CHAPTER III. 

OBJECTIONS TO THE PRACTICE OF READING SCORED EXERCISES. 

OBJECTION ANSWERED — DIRECTIONS FOR ACQUIRING THE ART OF READ- 
ING SCORED EXERCISES — HOW THE SENSE IS AFFECTED BY NEGLECT 
OF THE PRINCIPLES OF MEASURE 133 

CHAPTER IV. 

ANALYSIS OF QUOTATION FROM " YOUNG" CONTINUED. 

ADVANTAGES TO BE DERIVED FROM THE PRACTICE OF READING SCORED 
LANGUAGE — DANGERS INCIDENT TO MECHANICAL AIDS — SUCH PRAC- 
TICE TO BE USED UNDER LIMITATIONS — NO PRESCRIBED SCORING CAN 
INDICATE THE ONLY POSSIBLE CORRECT READING — THE PRINCIPLES 
NOT THE LESS BINDING AND INCONTROVERTIBLE .... 137 



EXERCISES 



CATHARINA. ADDRESSED TO MISS STAPLETON 

EXTRACT FROM JUNIUS 

DR. FRANKLIN'S JOURNEY FROM BOSTON TO PH 

FROM SHAKSPEARE'S HENRY IV. 

STORY AND SPEECH OF LOGAN . 

LOVE OF A FATHER 

MINOR MORALS .... 

PSALM CXXXIX. .... 

SUMNER ON WAR 

CATO's SOLILOQUY ON IMMORTALITY 

AGAINST PROCRASTINATION 

THE GRAVE ..... 

HARVARD COLLEGE 

INDUSTRY NECESSARY TO THE ATTAINMENT OF 

TO THE URSA MAJOR 

HYMN TO THE DEITY 

WARREN'S ADDRESS 

CHAPIN ON REFORM 

NINTH CHAPTER OF JOHN 





. 143 


. 


146 


ILADELPHIA 


. 148 


. 


153 


. 


. 154 


. 


156 


. 


. 160 


. 


166 


. 


. 167 


. 


170 


. 


. 171 


. 


173 


. 


. 177 


ELOQUENCE 


ISO 




. 183 


. 


190 


. 


. 195 


. 


196 




. 198 



CONTENTS. 



EXTRACT PROM COWPER S " TASK" 

ON THE BEING OP A GOD ..... 

ADAM AND EVE'S MORNING HYMN .... 

SPEECH OF THE EARL OP CHATHAM .... 

TIMON's ADDRESS TO THE THIEVES 

C-iESAR'S PASSAGE OP THE RUBICON .... 

SPEECH OP PATRICK HENRY .... 

ADDRESS OF HENRY V. TO HIS TROOPS BEFORE THE GATES OF HAR 
FLEUR ....... 

SIR WALTER RALEIGH TO HIS SON .... 

WHAT'S HALLOWED GROUND? .... 

WHAT HAVE WE TO DO WITH SLAVERY ? 

THE OLD MAN'S SONG ..... 

SOLILOQUY OF RICHARD III. ..... 

OTHELLO'S ADDRESS TO THE SENATE 

FREEDOM ....... 

leonato's grief for the loss of his daughter 

charity of opinion ...... 

barnes on slavery ..... 

credibility op miracles ..... 

cost of war ...... 

marot's ode to his mistress ..... 

the study of elocution ..... 

reflections at sea ...... 

st. peter's ...... 

"she had outlived her usefulness" 

abou ben adhem ...... 

my native land . 

speak gently ...... 

JAFFAR ....... 

king Claudius's soliloquy .... 

hamlet's soliloquy ...... 

garden scene from romeo and juliet . 

reading with spectacles ..... 

the apple-dumplings and george iii. . 



201 
208 

212 
215 
220 
222 
224 

229 
231 
233 
236 
238 
240 
241 
244 
246 
248 
251 
254 
257 
261 
263 
266 
267 
269 
275 
275 
276 
278 
283 
284 
287 
294 
296 



GRAMMAR OF ELOCUTION. 



GENERAL DIVISION. 

ARTICULATION — INTONATION — MEASURE. 

The subject under consideration in this volume, is divided 
into three several branches or heads. The first of these is 
Articulation; and by it is meant the clear and distinct 
utterance of language. This, it will be perceived, is mainly 
important ; as a habit of distinct enunciation of words and 
syllables must lie at the bottom of all excellence in delivery. 
And no superstructure can have value which is built upon any 
other basis than this. 

The second division of our subject will embrace all that 
relates to the pitch and inflections of the voice in uttering 
words, language, and audible sound. And this branch we call 
Intonation. The song or musical effect which characterizes 
the utterance of language, whether it regards the pitch* of 



• Elevation on the musical scale. 

(25) 



26 GRAMMAR OF ELOCUTION. 

voice in which sentences are uttered, or the inflection of single 
syllables, belongs to the subject of Intonation. 

The third division we call Measure. And it relates to the 
rliytlim of language — the movement of words or syllables ac- 
cording to certain groups. The utterance of metrical lines will 
display a rhythmical movement of the voice, and give an idea 
of measure. But it is not only_ poetry which admits of 
measure; as we shall show that the most harmonious and 
agreeable utterance of all language is performed in accordance 
with a law of our nature, which requires an apportionment 
of syllables that we call measure of speech. 



PART I. 

ARTICULATION. 



CHAPTER I. 

ANALYSIS OF LANGUAGE. 

ELEMENTS OF SPEECH — VOCALITY — VOWELS — SUB-VOWELS — ASPIRATES — 
SIGNS — EXPLOSION. 

Language is made up of sentences; sentences are com- 
posed of words ; words consist of syllables ; and syllables may 
be still further resolved into the ultimate sounds which we call 
Elements of Speech. The short word 'man/ is clearly 
resolvable into the three several elements represented in our 
language by the letters ' m/ i a/ and ' n.' The names given 
to these letters do not give a correct idea of the province which 
they fulfil in the spelling of words. 

The sound represented by the letter l m/ has no open vowel 
sound like the syllable l em j it is merely a smothered sound 
made while the mouth is closed ; the second sound is that of 
' a' in the word l at -/ and the third sound is that represented 
by * n' in the word ' now.' 

(27) 



28 GRAMMAR OF ELOCUTION. 

Now these elements differ more or less widely in their 
nature ; the middle one, that represented by our ' a,' possess- 
ing in abundance a property which we call vocality, by 
virtue of which it is susceptible of very loud utterance, is 
called a vowel ; but the first and last elements entering into 
the composition of this syllable, and represented by the letters 
' m' and ' n/ being smothered sounds having but little vocality, 
are therefore called sub-vowels. 

In the words l pin] ' time,' ( cape/ &c, we have yet another 
kind of element. The sound represented by the letters ' p/ 
1 1/ and ' c/ has no more vocality than a whisper, and is there- 
fore called aspirate. We have then elements of three kinds, 
distinguished from one another by the different degrees of 
their vocality ; and every element which enters into our lan- 
guage may be classed accordingly. They are either vowels, 
sub-vowels, or aspirates. The vowels having this pro- 
perty (vocality) in abundance, the sub-vowels having but little 
of it, and the aspirates being merely whispered sounds. 

These elements are represented in our language, each by 
one or more letters. 

In a perfect alphabet there would be a sign or letter for 
every element, and no element would have two signs. Neither 
of these conditions is fulfilled by our alphabet. In that we 
use the same sign to represent several elements; as the same 
letter l a' stands for one sound in the word ' ale/ for another 
in the word ' arm/ for a still different element in the word 
' all/ and for yet another in the word ' man.' 

On the other hand the same element is often represented by 
different signs, letters, or combinations of letters. Thus the 



ARTICULATION. 29 

vowel sound in the first syllable of the word * jewel/ and that 
in the first syllable of the word ( beauty/ are identical ; so also 
is that in the first syllable of the word ' ruin / and yet they 
are represented respectively by the different signs l ew/ ( eau/ 
and <u/ 

The sub-vowel element, which is represented by the sign 
* gs' in the word c rags/ is identical with that which is repre- 
sented by the sign ' x' in the word f exact/ 

The aspirate element ' f ' in ' fancy* is the same which ' in 
1 phantom' is represented by ' ph/ &c. In our alphabet, then, 
the same sign may he used to stand for several different ele- 
ments or sounds ; , and the same sound may be represented by 
several different signs. But in a perfect alphabet this would 
not be the case. 



30 GRAMMAR OF ELOCUTION. 



CHAPTER II. 



TABLE OF ELEMENTS. 



NOTATION OP SIGNS. 



Below will be found a table of the elements classed in three 
columns according to their vocality. It will be observed that 
syllables or well known words of the English language, the 
pronunciation of which is so generally agreed upon as to leave 
no room for dispute, have been selected and placed in order in 
the 2d, 4th, and 6th of the columns of the table ; each of 
these syllables or words contains an element, and the 1st, 3d, 
and 5th columns contain the signs of these elements ; the letter 
or letters which in these syllables or words represent each 
element respectively. 

These elements then are to be exploded in the order in 
which they are placed. That is, they are to be uttered with 
fullness, with intensity, with abruptness, and force. In this 
practice two distinct objects are to be had in view, viz. the 
training of the voice to the perfect utterance, and of the ear 
to the nice and accurate distinction of sounds. 







ARTICULATION. 










TABLE OF ELEMENTS. 






Vowels. 


Sub-vowels. 


Aspirates. 


A 


Ale. 


B 


Bow. 


P 


Pit. 


A 


Arm. 


D 


Z)ay. 


T 


Tin. 


A 


All. 


G 


Gale. 


K 


Kind. 


A 


An. 


V 


File. 


F 


Pane. 


E 


Eve. 


TH* Then. 


TH 


Thin. 


E 


End. 


Z 


Zone. 


S 


Sin. 


I 


Isle. 


ZH 


Azure. 


SH 


Shade. 


I 


In. 


J 


Job. 


CH 


Chess. 





Old. 


x* 


Exact. 


X 


Excel. 


00 


Lose 


W 


Wall. 


WH 


" What. 





On. 


L 


Love. 


H 


Hut. 


V 


Tube. 


R 


Roll. 






t 


Un. 


M 


3fmd. 






u 


Ml. 


N 


No. 






ou 


Our. 


NG 


"Long. 






01 


Oil. 


Y 


Yoke. 







81 



In default of a Phonetic Alphabet, as most readers may be 
unacquainted with any such, our own letters, either singly or 
in combination, are used, and the marks which are adopted by 
Dr. Webster in his pronouncing dictionary, so far as they are 
required to represent the sounds of the elements. 

This arrangement would be dispensed with by the use of a 



* It will be observed that the sub-vowel sounds of th and z, both 
in the table and the exercises which follow, are represented by italics, 
while the aspirates corresponding to them are in roman letters. 



32 GRAMMAR OF ELOCUTION. 

Phonetic Alphabet, wherein every element would have a sign 
or letter, and no two signs should represent the same sound. 
Such an alphabet would be an aid in teaching pronunciation. 
(See Comstock's System of Elocution.) 

NOTATION OF SIGNS. 

The four sounds of A respectively, as heard in the words 
' ale/ ' arm/ ' all/ ' an/ are represented thus : a a a a. The 
sounds of E in the words Eve and end are marked thus : e e. 
The sounds of I in the words ' isle' and * in' are 1 1. Of 
in the words 'old/ 'lose/ and 'on/ are marked o oo o. The 
second sound of is represented by oo. The sounds of U in 
the words ' tube/ ' up/ and ' full/ are represented respectively 
thus: uuu. The combinations 'eu' and 'ew' have likewise 
the same sound precisely with the first u. The letters 'ou' 
in these exercises have always the vowel sound in i our/ and 
oi is pronounced as in 'oil/ 

The sign Gr in our table and subsequent exercises has always 
the hard sound as in 'gay.' 

The sub-vowel in the word ' then' is represented by italic 
letters to distinguish it from the aspirate th in the word ' thin.' 
The sounds of Z and S are well known, as distinguishing the 
sub-vowel and aspirate sounds of ' S/ as in the words ' reason' 
and ' sadness/ The sound of 'Z' in the word 'azure' is repre- 
sented by 'zh/ that of the corresponding aspirate by 'sh.' 

The sub-vowel in 'Job', 'George/ &c, by ' J7 

The sub-vowel sound of X in ' exact/ is that marked by 
italic x. 

The aspirate X in ' excel' is roman. 



ARTICULATION. 33 

The sound of W in ' watch' is well known. Its correspond- 
ing aspirate in the word ' what' is commonly represented by 
' wh/ but would be better represented by ' hw.' 



CHAPTER III. 

FAULTS OP THE ALPHABET. 

THE SAME SIGN USED FOB DIFFERENT SOUNDS — THE SAME ELEMENT REPRE- 
SENTED BY DIFFERENT SIGNS. 

It will be seen by the following tables that in the use of 
our alphabet, the same sign is employed to represent several 
different elements or sounds ; and also that the same element 
is represented by different signs ; as follows : — * 

* It will be seen that the author has been at some pains to prepare 
these tables ; but all that is to be illustrated by them must be wholly 
lost unless the reader assure himself of the name of each element 
spoken of. The elements are simple sounds. The names of the let- 
ters are not usually the names of the elements. But an element is 
the sound represented by a letter or sign as found in a certain posi- 
tion or word; and we can only represent and distinguish the elements 
in our tables by conventional signs. Thus the vowel element in the 
word ale, is represented by the sign a ; and this sign should not, in 
reading the tables, be sounded like the sign a in the word 'arm.' 
The sign oo or 6* in the word * move' should not be pronounced as the 



34 GRAMMAR OF ELOCUTION. 

1st. The same sign is employed to represent several different 
sounds. 

The sign or letter a stands for the element a in the word ale. 
For a in arm. For a in all. 

For a in at. And for o in what. 

The letter e stands for the element e in the word we. 
For e in met. For a in grey. 

The letter i stands for 1 in the word vile. 
For I in fit. For e in marine. 

And for u in bird, virtue, &c. 

The letter o stands for o in the word roll. 
For o or oo in move, who, bosom, &c. 
For u in wolf. For ii in cover, one, &c. 

For o in pot. For I in women. 

The letter u stands for u in the word duty. 
For u in full. For u in but. 

For e in bury. And for I in business. 

vowel element in the word ' duty.' And these tables will read as 
nonsense unless the reader first make himself acquainted with the 
sound intended to be represented by each sign. 

This he will easily do by referring to the Table of Elements, and 
learning the sound of each element by observing the sign for the true 
sound of the vowel element in the well known syllables Ale, arm, all, 
at, &c, as they are rightly pronounced. 

Unless this caution be carefully observed, the reader will do much 
better to omit these tables entirely, which are designed merely to 
show the imperfections of our alphabet, and the eccentricities of 
English pronunciation. 



ARTICULATION. 



35 



And 2dly. The same element 
signs. 

The element a is represented 
By a in the word ale. 
By ei in weight and heinous. 
By ay in lay. 
By aigh in straight. 

The element a is represented 
By a in the word drama. 
By au in daunt. 

The element a is represented 
By a in the word all. 
By au in vault. 
By al in qualm. 
By augh in caught. 

The element e is represented 
By e in the word evening. 
By ee in meet. 
By ie in believe. 



is represented by different 



By ai in aid. 
By ey in grey. 
By au in gauge. 



By ea in heart. 
By ah in hurrah. 

By o in border. 

By aw in law. 

By ough in thought. 



By ea in leave. 
By ei in leisure. 
By i in marine. 



And formerly by M in iEolian, and by ce in oeconoiny, 
pcenal, &c. 



The element e is represented 
By e in the word ever. 
By ai in again. 
By u in burial. 



By ea in weather. 
By a in Thames. 
By ei in heifer. 



86 



GRAMMAR OF ELOCUTION 



The element 1 is represented 
By i in the word bile. 
By ie in lie. 
By y in tythe. 
By ye in lye. 

The element I is represented 
By i in the word pin. 
By ei in surfeit. 
By u in business. 

The element o is represented 
By o in the word tone. 
By ough in dough. 
By oe in aloes. 

The element oo is represented 
By o in the word tomb. 
By ou in uncouth. 
By wo in two. 

The element o is represented 
By o in the word on. 
By ow in knowledge. 

The element u is represented 
By u in the word duty. 
By eu in deuce. 
By ue in blue. 
By ieu in purlieu. 



By ei in eider. 
By ui in guide. 
By uy in buy. 
By ey in ley. 

By y in nymph. 
By o m. women. 
By ia in parliament. 

By ow in bow. 
By oa in foam. 
By ot in depot. 

By oo in doom. 
By ew in jewel. 
By ough in through. 

By a in wallet. 



By ew in dew. 
By ui in suit. 
By iew in review. 
By eau in beauty. 



ARTICULATION. 37 

The element u is represented 
By u in the word but. By o in love. 

By ou in touch. 

The element u is represented 
By u in the word put. By oo in foot. 

By ou in would. 

The element ou is represented 
By ou in the word gout. By ow in cow. 

By ough in slough. 

Oi and oy are pronounced alike. 

But in order to construct our exercises we use the signs as 
indicated in the Table of Elements, and proceed to form syl- 
lables, by placing successively before all the vowel elements 
each sub-vowel and aspirate (excepting ' ng/ which is only a 
final sound). This gives us the syllables. 



GRAMMAR OF ELOCUTION. 



CHAPTER IV. 



EXERCISES IN ARTICULATION. 



Exercise No. 1. 

A a a 8, e 8, 1 i, 6 oo 5, u fi u, ou, oi. 
Ba b'a ba ba, be be, bi bi, bo boo bo, bti bu bu, bou, boi. 
Da da da da, de de, di di, do doo do, du du du, dou, doi. 
Ga ga ga ga, ge ge, gl gi, go goo go, gu gu gu, gou. goi. 
Va va va va, ve ve, vl vi, vo voo vo, vu vu vu, vou, voi. 
Tha, th'sb tha. tliii, the the, thi thi, tlio thoo tJw, thii thii thu, thou, thoi. 
Za z'a za za, ze ze, zi zi, zo zoo zo, zu zti zu, zou, zoi. 
Zka zha zha zha, zhe zhe, zhi zhi, zho zhoo zho, zhii zhti zhu, 

zhou, zboi. 
Ja ja ja ja, je jg, ji ji, jo joo jo, ju ju ju, jou, joi. 
.Za x& xsl #a, xe xe, x\ xi, xo xoo xo, xu. xu xu, xou, #oi. 
Wa wa wa wa, we we, wi wi, wo woo wo, wu wii wu, wou. woi. 
La la la la, le le, li II, lo loo lo, lu Iti lu, lou, loi. 
Ra ra ra. ra, re re, rl ri, ro roo ro, ru ru ru, rou, roi. 
Ma ma ma ina, me me, ml mi, mo moo mo, mti mii mu, mou, moi. 
Na n'a na, n&, ne ne\ ui ni, no noo n5, nu nti du, nou, uoi. 



ARTICULATION. 89 

Ya ya ya ya, ye yg, yi yi, yo yoo yo, yu yfi yu, you, yoi. 

Pa pa pa pa, pe pe, pi pi, po poo po„ pii pu pu, pou, poi. 

Ta ta ta ta, te te, ti ti, to too to, tu tu tu, tou, toi. 

Ka ka ka ka, ke ke, ki ki, ko koo ko, kti ku ku, kou, koi. 

Fa fa fa fa, fe fe, fl f I, fo foo, f o, fii fu fu, fou, foi. 

Tha th'a tha tha, the the, thi thi, tho thoo tho, thu thii thu, 

thou, thoi. 
Sa sa sa sa, se se, si si, so soo so, sti six su sou, soi. 
Sha sh'a sha sha, she shg, shi shi, sho shoo sho, shu shu shu, 

shou, shoi. 
Cha cha cha cha, che che, chl chi, cho choo cho, chti chu 

chu, chou, choi. 
Xa xa xa xa, xe xS, xi xi, xo xoo x5, xu xu xu, xou, xoi. 
Wha wh'a wha wha, whe whe, whi whi, who whoo who, whii 

whii whu, whou, whoi. 
Ha ha ha ha, he he, hi hi, ho hoo ho, hu hu hu, hou, hoi. 

The pupil who shall learn this under the disadvantage of 
having no teacher, must be very careful to get the sound of 
every vowel most perfectly. And in order to do this, he is 
merely to refer to the syllables used in the tables. 

In the next exercise we may introduce the element repre- 
sented by the letter 1 1/ between the two elements of each 
syllable in the foregoing, as follows. 

Exercise No. 2. 
Bla bl"a bla bla, ble ble, bll bli, bio bloo bio, blu blii blu, 

blou, bloi. 
Dla dla dla dla, die die, dli dli, dlo dloo dlo, dlii dlu dlu, 

dlou, dloi. 



40 



GRAMMAR OF ELOCUTION. 



Gla gla gla gla, gle gle, gll gli, glo gloo glo, glu glQ glu, 

glou, gloi. 
Via via via via, vie vie, vli vli, vlo vloo vlo, vlu vlu vlu, vlou, 

vloi. 
TIM thla th\z thU, t7i\e tide, thli thli, thlo tJioo thlo, thlu th\\i 

thlu, thlou, tJihi. 
Zhla zhla zhla zhla, zlile zhle, zhli zhli, zhlo zhloo zhlo, &c. 

It is not necessary to follow the sub-vowels any further in 
this connection, as they would not only form syllables somewhat 
unpronounceable, but combinations most of which never occur 
in our language. 

We proceed then with the same exercise, going at once to 
the aspirate elements. 

Pla pla pla pla, pie pie, pli pli, plo ploo plo, plu plii plu, plou, 

ploi. 
Tla tla tla tla, tie tie, til tli, tlo tloo tlo, tlu tlu tlu, tlou, tloi. 
Kla kl'a kla kla, kle kle, kli kli, klo kloo klo, klu klu klu, klou, 

kbi. 

Fla, fla fla fla, fle fle, fli fli, flo floo flo, flu flu flu, flou, flloi. 
Thla thla thla thla, thle thle, thli, thli, thlo thloo thlo, thlu 

thlu thlu, thlou, thloi. 
Sla sla sla sla, sle sle, sli sli, slo sloo slo. slu slu slu, slou, sloi. 
Shla shl'a shla shla, shle shle, shli shli, shlo shloo shlo, shlii 

shlii shlu, shlou, shloi, &c. 

The rest of the aspirates may safely be omitted for the 
reasons given for omitting the use of many sub-vowels in this 
connection. The letter ' R/ may next be used in plaoe of ' L/ 
and then wo shall have 



ARTICULATION. 41 

Exercise No. 3. 
Bra bra bra bra, br§ brg, bri bri, bro broo bro, bru bru bru, 

brou broi. 
Dra dra dra dra, dre drg, dri dri, dro droo dr5, drii dru. dm, 

drou, droi. 
Gra gra gra gra, gre" gre, gri gri, gro groo gro, gru gru, grou, groi. 
Vra vr'a vra vra, vre vre, vri vri, vro vroo vro, vrti vru vm, 

vrou, vroi. 
Thra, thfii this. thv&, thre thre, thri thri, thro throo thro, thru 

thru thru, throu throi. 
Zra zra zra zrS, zre zre, zrl zri, zro zroo zro, zru zru zru, zrou, 

zroi. 
Zhra zhra zhra zhra, zhre zhre, zhri zhri, zhro zhroo zhro, zhru. 

zhrii zhru, zhrou, zhroi. 

Then we use the aspirates. 

Pra pra pra pra, pre pre, pri pri, pro proo pro, pru pru pm, 

prou, proi. 
Tra tra tra tra, tre tre, tri tri, tro troo tro, tru tru tra, trou, troi. 
Kra kra kra kra, kre kre, krl krl, kro kroo kro, km krti km, 

krou, kroi. 
Fra fra. fra fra, fre fre, fri fri, fro froo fro, fru fru fra, frou, froL 
Thra thr'a thra thra, thre thre, thri thri, thro throo thro, thru 

thru thru, throu, throi. 
Sra sra sra sra, sre sre, sri sri, sro sroo sro, sru sru sru, srou, 

sroi. 

Shra shr'a shra shra, shre shre, shri shri, shro shroo shro, shm 

shru shru, shrou, shroi. 
4* 



42 GRAMMAR OF ELOCUTION. 



CHAPTER V. 

LIST OP WOHDS DISPLAYING THE USE OF ALL THE ELEMENTS — ANALYSIS OP 
SYLLABLES — STRESS. 

In the following list of words the use of all the elements is 
seen ; and the principle upon which they were selected shows 
the vowel elements placed successively in contact with the 
different suh-vowels and aspirates. In the first column, for 
instance, the vowel element a is used before and after the 
various sub-vowels and aspirates. It is represented by various 
signs - } but whether it be by a, ai, ei, or any other letter or 
combination of letters, ever employed for that purpose, still it 
is the same element, and can only be pronounced in one way. 
In the second column the second sound of A (a), as in ' arm/ 
and whatever may be the sign by which this element is repre- 
sented it is still the same sound ; thus, ' ua' in its sign in the 
word ( guard/ <ea' in the word ( heart/ &c, but the same 
element is meant. In the third column the element ■ a' is 
given, the third sound of ( A/ sometimes represented by ■ a' 
as in ' walks/ sometimes by ' au/ and ' ou/ ' ua/ &c, but pro- 
nounced alike. This, then, is a guide to the pronunciation of 



ARTICULATION. *o 

the same sounds ; and such a table might easily be constructed 
to embrace all the sub-vowel and aspirate elements. But as 
they are far less likely to be mistaken or mispronounced, than 
the vowel sounds, because less variously represented, this step 
has been thought unnecessary. 



LIST OF WORDS DISPLAYING THE USE OF ALL THE VOWEL 
ELEMENTS. 







Exercise No. 4. 






A 


A 


A 


A 


E 


E 


Babe 


Arm 


Orb 


As 


Bean 


Evermore 


aid 


barn 


daub 


ban 


dean 


bwrial 


dale 


dart 


border 


dash 


evening 


debt 


gave 


guard 


gall 


gas 


demon 


get 


vague 


starve 


vault 


valid 


geese 


very 


lathe 


jars 


northern 


lather 


venal 


weather 


raze 


large 


gauze 


as 


these 


besom 


heinous 


snarl 


jaws 


jagged 


easy 


pleasure 


gauge 


marred 


exalt 


hazard 


leisure 


ledger 


plagues 


darn 


wall 


exact 


legion 


pegs 


assuage 


yarn 


law 


rags 


leagues 


wedge 


weight 


sharp 


enthrall 


waggish 


mean 


leather 


retail 


heart 


maw 


lattice 


leaky 


thence 


unmade 


hark 


nautilus 


rattle 


reap 


render 


mane 


carp 


qualm 


madder 


ye 


melon 


shape 


hearth 


yawn 


natural 


peel 


never 


take 


parse 


pawn 


slang 


neither 


agam 


skein 


harsh 


tawny 


yams 


meet 


Thames 



44 



GRAMMAR OF ELOCUTION. 



A 


A 


A 


A 


E 


E 


fame 


larch awkward 


panic 


peak 


yell 


wraith 


Charles fawn 


tarry 


tedious 


dispel 


erase 


sparks thorny 


camphor 


reeking 


temper 


chain 


hussar author 


fancy 


leafy 


kettle 


whale 


farther thought 


thanks 


wreath 


error 


inhale 


parch sought 


shanty 


lease 


ethnical 


behave 


cigar hawser 


chat 


sheet 


settler 


rave 


* charge shawms 


happy 


cheating 


meshes 


stave 


park walks 


haddock 


wheat 


sketch 


I 


I 


Oo 


6 


U 


U 


Guide 


In Bow 


Boot 


On 


Beauty 


■ Utter 


abide 


bitter dough 


doom 


bog 


duel 


but 


died 


differ go 


goose 


donkey 


regelate dull 


vile 


gibbous vote 


behoove gothic 


review 


guttural 


alive 


vigor though soothe 


i volume 


purl i cm 


love 


thine 


wither zone 


ooze 


bother 


abuse 


thus 


resign 


business ozier 


jewel 


azotic 


juice 


buzz 


gives 


division jovial 


woo 


lottery 


dew 


budge , 


wipe 


rehgion rogue 


loop 


jot 


lute 


exult 


like 


women woe 


root 


tonic 


ruin 


one 


ripe 


lisping lone 


moon 


wallet 


mute 


London 


might 


riches rove 


noon 


locket 


m'mutz 


)' rust 


nine 


middle mode 


youth 


rocket 


union 


mutter 


condign nymph nodes 


pool 


mollify 


repute 


null 


pine 


wing yoke 


tomb 


knowledge twneful sung 


time 


pitiful pole 


coop 


song 


recluse 


?nug 


kind 


tinker tone 


food 


yacht 


refuse 


pup 







ARTICULATION. 


45 


I 


I 





Oo 6 


U U 


file 


kindred 


cone 


uncouth policy 


truth other 


tithe 


surfeit 


foam 


loose tolerate refute cover 


dice 


thin 


oath 


choose folly 


sumac enowgh 


spine 


single 


close 


two authority rude thorough 


chimes 


shingle 


ocean 


who posterity intrude such 


exile 


chill 


chose 


do washi i 


lg dilute chubby 


while 


vixen 


oaks 


chew chopped infuse ducks 


hide 


whittle 


hole 


through exotic 


suit hurry 


drive 


hinder 


host 


hoosier what 


execute worry 


y 


Ou 


Oi 


y 


Ou Oi 


Bull 


Bow 


Hoist 


Full 


Lowering Coin 


wool 


endow 


oil 


pull 


bough hoiden 


put 


gout 


boy 


shook 


mow choice 


foot 


devout 


avoid 


cook 


noun avoid 


look 


thou 


loiter 


good 


power alloy 


puss 


house 


royal 


would 


couch decoy 


push 


browse 


moiety should 


found soil 


hook 


vows 


annoy 


hood 


sour turmoil 


took 


rouse 


appoint broom 


shower recoil 


book 


wound 


toilsome forsook 


chouse spoil 



When speaking of the analysis of the word ' man/ in the 
beginning of Chapter II., it was shown that a syllable may 
be resolved into the ultimate sounds called elements. It is 
easy to perceive, while uttering the first sound in the table 
of elements (that represented by a) that the aperture of the 
mouth takes a different shape in the opening from what it 



46 GRAMMAR OF ELOCUTION. 

assumes towards the end of that syllable, and that the sound 
changes accordingly. The abrupt or opening sound might be 
represented by short e (e), while the final or vanishing sound 
would be more like long e (e) or ee. We shall then regard a 
syllable henceforth as having two members, and shall call them, 
as Dr. Rush has done, the radical and the vanish. Force, 
when applied to the former, is called radical stress. When 
applied to the latter, it constitutes final stress. 

In the foregoing exercises, our attention has been wholly 
directed to the radical ; and the vanish has taken care of itself. 
We next introduce an exercise where a marked distinctness, 
almost amounting to caricature, is to be given to the vanish 
or final sound, and this we q&W final stress. In this way alone 
shall we be able clearly to distinguish between our terminal 
consonants, especially between the sub-vowel and aspirate ele- 
ments ; and in this way alone can we get such an exercise as 
shall be useful in the discipline of the voice for distinctness 
of consonant sounds. We take the five short vowels, a, e, I, o, 
and u, and place after them successively the sub-vowels and 
aspirates. 

Exercise No. 4. 

Thus : Ab eb lb ob iib, ad ed id od ud, ag eg lg ogiig, av 
ev iv ov uv, &th eth 1th oth uth, az ez Iz oz tiz, azh ezh Izh 
ozh tizh, aj ej lj oj uj, aa; ex ix ox fee, al el 11 ol ul, ar er Ir 
or ur, am em Im om um, an en in on tin, ang eng ing ong 
ting, ap ep Ip op up, at et it ot tit, ak ek Ik ok tik, uf ef if 
of iif, ilth eth ith oth uth, as es is os us, ash esh ish osh tish, 
Sch ech ich och uch, ax ex ix ox ux. 

This exercise is admirably calculated to train the voice to 



ARTICULATION. 47 

the explosion of the vowel sounds, and also to the production 
of final stress or distinctive force upon the final sound or the 
vanish of syllables. 



CHAPTER VI. 



COGNATES. 



Before entering upon the practice of exercises involving 
two or more syllables in such juxtaposition as to represent 
words, the attention of the pupil should be directed to cer- 
tain properties in the nature of the consonant elements 
which show a relation between some of the sub-vowels and an 
equal number of the aspirates. If the position of the vocal 
organs be narrowly observed while sounding the element re- 
presented by B, it will be perceived that a similar position of 
the lips as well as a similar effort of the mouth will also pro- 
duce the sound represented by P, thus establishing a certain 
relationship between these two sounds. Hence these sounds, 
and the signs also which represent them, have been called 
cognates. B and P then are cognates. The same examina- 
tion will show a like correspondence to exist between D and 
T; or between the sounds which they represent; D and T 
then are cognates. The sound of hard Gr, the third subvowel 
element in the table, is cognate to the sound represented by 
K, the aspirate which stands opposite to it in the third column 



48 GRAMMAR OF ELOCUTION. 

of syllables in the table ; and so on, as far down as the ele- 
ments represented respectively by W and WH, inclusive; mak- 
ing ten sub-vowels which have respectively their cognates in 
the column of aspirates. 

Having pointed out this relation, we proceed to form an 
exercise by placing the vowel elements successively after each 
sub-vowel and its coguate, thus : 

Exercise No. 5. 
Bapa bapa bapa bapa, bepe bepe, bipi bipi, bopo boopoo bopo, 

biipu bupu bupu, boupou, boipoi. 
Data data data data, dete dete, ditl diti, doto dootoo dots, 

dutu dutu dutu, doutou, doitoi. 
Gaka gaka gaka gaka, geke geke, giki giki, goko gookoo 

goko, guku guku guku, goukou, goikoi. 
Vafa vafa vafa vafa, vefe vefe, vifl vifi, vofo voofoo vofo, vufu 

vufu vufu, voufou, voifoi. 
^T/iatha, ^atha ^atha fAatha, thethe thethe, thiihi <7iithi, tlio- 

tho /Aoothoo thoth.0, ?7iuthu ^uthu tfmthu, tfjouthou, 

tlio\t\io\. 
Zasa zasa zasa zasa, zese zese, zisi zisi, zoso zoosoo zoso, ziisu 

zusu busu, zousou, zoisoi. 
Zhasha zhasha zhasha zhasha, zheshe zheshe, zhishi zhishi, 

zhosho zhooshoo zhosho, zhiishu zhushii zhushu. zhoushou, 

zhoishoi. 
.Xfixa rraxa xaxa #axa, xexe xexe, aixi ccixi, croxo .rooxoo 

ccoxo, amxii ctuxu *t'iixu, xouxou, ccoixoi. 
Wahwa wawha wawha wawha, wewhe wewhe, wlwhi wiwhi, 

wSwho woowhoo wowho, wiiwhii wfiwhu wuwhu, wouwhou, 

woiwhoi. 



ARTICULATION. 49 

This exercise may be supposed to represent a list of words, 
each word having two syllables, the first syllable of each word 
containing a sub-vowel element and a vowel element; the last 
syllable of each word containing the cognate aspirate element 
with the same vowel. So that the only difference between the 
two syllables of each word, consists in the consonant element 
being sub-vowel in the one, and aspirate in the other. 

Numerous errors are daily committed in the common utter- 
ance of language, involving the neglect of this distinction; 
the sub-vowels are confounded with their cognate aspirates. 
We often hear the element B substituted for its cognate ' p/ 
as in the word Jupiter sounded with the sub-vowel <b/ 
' Jubiter ;' ' Baptist' pronounced ' Babtist ;' and sometimes the 
opposite error is committed, as in the word i Jacob* sounded 
' Jacup.' 

The sub-vowel element represented by l D' is sometimes 
incorrectly pronounced like its cognate aspirate c T/ as in the 
word l dreadful' pronounced more like c dretful.' Sometimes 
the converse, as ' pardner' for ' partner / here the sub-vowel is 
used wrongly for the aspirate sound. 

The aspirate element represented by ' k' is misused for the 
sub-vowel sound, cognate to it, represented by g (hard g) as in 
the word 'indefatigable ;' the opposite fault has been committed 
in the word ( moccasin/ sometimes called l moggasin/ 

The aspirate represented by ' f ' or ( ph' is used for sub- 
vowel c v,' as in the word ' nephew/ where the correct sound is 
sub-vowel. 

The aspirate <th' for the sub-vowel th as 'beneath' and 
' underneath' for ' beneaif/i' and ' undernea^.' 
5 



50 GRAMMAR Ui' ELOCUTION. 

The aspirate ' s' for the sub-vowel ' z/ as in the words ' dis- 
ease/ { Israel/ ' dishonor/ l hesitate/ and many others fre- 
quently pronounced aspirate in the first syllable. Sometimes 
the sub-vowel sound is heard for the aspirate, as in the word 
1 possess' and also in ' rise' (when a noun). The sub-vowel 
sound <zh' is frequently used for the aspirate sound <sh/ as 
in the words ' Asia/ ' Persia/ and ' cynosure.' The cognates 
represented by J and Ch are seldom confounded, so far as I 
have observed, unless by foreigners or persons addicted to 
German provincialisms. 

The sub-vowel sound of x (gz) is often used indiscriminately 
for the aspirate sound (ks). The former sound (sub-vowel) is 
correct in the words ' exact/ ' exempt/ ' example/ ' exonerate/ 
' exhibit / but the aspirate (ks) in the words i exile/ ' exotic/ 
< exoteric/ ' exorcise/ ' exhibition/ &c. 

And lastly, the sub-vowel sound of W is often used instead 
of the aspirate ' wh' in the words which, why, when, where, 
what, while, and their compounds also in the words white, 
wharf, whistle, whisper, wheat, whist, whale, wheel, wheeze, 
whelm, whet, whey, whiff, whig, whip, whim, whisk, whirl, 
whiz, whittle, whitsun, and some few others. These words, 
and such as are derived in some way from them, constitute 
nearly all which are in common and frequent use, and thus 
liable to be mispronounced by substituting the sub-vowel sound 
which is represented by ' w' for the aspirate which is repre- 
sented by ' wh/ but would be still better represented by ( hw/ 



ARTICULATION. 51 



CHAPTER VII. 



ACCENT. 



The object of these exercises being to teach the subject of 
pronunciation, including accent and the various kinds of force, 
they are interrupted by such definitions and explanations as 
our progress may render expedient and useful. Accent is the 
term used to denote that force or stress of voice which is 
applied to a syllable to distinguish it from another syllable in 
loudness. With this definition of accent we are prepared to 
proceed to exercises constructed with reference to perfecting 
our pronunciation in this respect. In a more advanced stage 
of our progress, it will be seen that a great essential to correct 
and elegant reading is involved in the manner of producing 
our accent. 

We will suppose the preceding exercise to have been per- 
formed as it is most likely it was performed; namely, with 
accent upon the first of the two syllables in each word. Let 
the same exercise now be repeated with the accent marked 
strongly upon the second syllable in each word, and it will be 



52 GRAMMAR OF ELOCUTION. 

perceived at once that there is a strong tendency to slight the 
pronunciation of the first or unaccented syllable of each word, 
making the vowel in that syllable an indefinite or obscure 
sound, much like that of short 11, as bupa biipa biipa biipa, 
&c. ; and this fault runs throughout the common pronunciation 
of our language. When schoolmasters endeavor to correct the 
careless manner of pronouncing the unaccented vowels, their 
pupils either disregard the instruction altogether, or commit the 
grosser fault of giving a sort of accent to unaccented vowels. 
It is not here meant that no schoolmaster ever yet compre- 
hended the difference between accent and correctness of vowel 
sound ; only that pupils seldom use both correctly. 

Should any earnest student strive to get the benefits legiti- 
mately belonging to such exercises as this one and that imme- 
diately following, without the aid of a teacher, I would recom- 
mend such to see to it that the accent be strongly marked and 
the unaccented syllables be uttered in most striking contrast 
with the accented ones, as to loudness alone, carefully preserv- 
ing the vowel sound in each light syllable, and making it pre- 
cisely like the accented one, excepting only as to loudness. 
This is rarely done well without a teacher. 

The next exercise will be especially calculated to give the 
pupil a command over this indispensable element in good 
reading, viz. : the true vowel sound on unaccented syllables. 
This depends upon the right management of accent ; without 
which the attainment of good and correct reading must be 
regarded as a hopeless task. 



ARTICULATION. 5o 

EXERCISES FOR ACCENT. 

We have only to repeat the last or aspirate syllable of each 
word in the preceding exercise, in order to form "words of three 
syllables. Bapa, in the foregoing, represented a word of two 
syllables; we now repeat the last one, and this gives us bcrpapa, 
representing a word of three syllables/ having the same vowel 
sound in each syllable. Each word has a different vowel ele- 
ment, but the syllables of each word have all the same vowel 
sound. 

EXERCISE FOR CORRECTNESS ON UNACCENTED VOWELS. 

Exercise No. 6. 

Bapapa bapapa bapapa bapapa, bepepe bepepe, bipipi blpipi, 

b5p5po boopoopoo bopopo, bupupu bupupu bupupu, bou- 

poupou, boipoipoi. 
Datata datata datata datata, detete detete, dititi dititi, dototo 

dootootoo dototo, dutiitu dtitutu dutiitu, doutoutou, doitoitoi. 
Gakaka gag'aga gakaka gakaka, gekeke gekeke, gikiki gikiki, 

gokoko gookookoo gokoko, gu.ku.ku. gukuku gukuku, gou- 

koukou, goikoikoi. 
Vafafa vafafa vafafa vafafa, vef ef e vefef e, vififl vififi, 

vof5fo voofoofoo vofofo, vufufu vufufu vufufu, voufoufou, 

voifoifoi. 
TViathatha ^athatha ^/lathatha 27iathatha, ^ethethe thetke- 

the, ^Ithithi ^/iithithi, ^othotho £7ioothoothoo itfiothotho, 

^uthuthu ^/iuthuthu ^uthuthu, tfiouthouthou, Moithoithoi. 
Zasasa zasasa zasasa zasasa, zesese zesese, zislsl zisisi, zososo 

zoosoosoo zososo, zususu zususu zususu, zousousou, zoizoisoi. 
5* 



54 GRAMMAR OF ELOCUTION. 

Zhashasha zhashasha zhazhazha zhashasha, zhesheshe zhe- 
sheshe, zhishishl zhishishl, zhoshosho zhooshooshoo zho- 
shosho, zhtishushu zhushiishu zhushiishu, zhoushoushou, 
zhoishoishoi. 
Jachacha jachacha jachacha jachacha, jecheche jecheche, 
jieliiclii jichichl, jochocho joochoochoo jochocho, juchiichu 
juchiichu. juchucliu, jouchouchou, joiclioiclioi. 
JTaxaxa xaxaxa ccaxaxa araxaxa, ccexexe asexexe, auxlxi rrixlxi, 
ccoxoxo .rooxooxoo ccoxoxo, xuxiixu omxiixu rruxuxu, ccou- 
xouxou, ccoixoixoi. 
Wawhawha wawhawha wawhawha wawhawha, wewhewhe 
wewhewhe, wiwhlwhl wlwhiwhi, wowhowho woowhoowhoo 
wowhowho, wuwhiiwhu wuwhiiwhu wuwhiiwhu, wou- 
whouwhou, woiwhoiwhoi. 

This exercise is first performed with the accent upon the 
first or sub-vowel syllable of each word, taking great care, as 
in the preceding exercise, to give the vowel sound with perfect 
accuracy in the unaccented syllables, but very lightly in com- 
parison with the accented one. 

Next, it is to be pronounced again with the accent upon the 
second or middle syllable ; and finally with the third or last 
syllable accented, observing always the same caution as to the 
vast contrast in loudness between the accented and the unac- 
cented syllables. 

However puerile these exercises may appear at first view, a 
little practice of them daily, performed with care and fidelity, 
will convince the most skeptical of their practical utility; and 
however tedious and wearisome this practice may seem to be, 
I am convinced by long use, and the result of many years' 
experience in training the voice, that the use of similar exer- 



ARTICULATION. 55 

cises is indispensable to the acquirement of a 'perfectly correct 
pronunciation. 

It will be perceived that the last exercise was especially cal- 
culated to beget habits of care and correctness in the pronun- 
ciation of unaccented vowels. But it will be observed that in 
each group of syllables representing a word of three syllables, 
the voivel elements were identical. Hence the simplicity of 
the exercise ; for, where the organs are once prepared for a 
certain vowel element, it is far easier to repeat the same ele- 
ment several times in the same word, than to change the effort 
and produce a new or different vowel sound in the same word. 
The word adamant has three syllables with precisely the same 
vowel element in each syllable ; viz. : the fourth sound of 
a (a). The word i emanate' has three syllables, but a differ- 
ent vowel element in each ; hence it is easier to give the former 
word with perfect correctness than the latter. But as the 
vowel sound is not always, nor usually, the same in the differ- 
ent syllables of words in our language, we need an exercise 
which shall involve the necessity of suddenly changing the 
shape of the mouth, to accommodate the different vowel sounds 
which may occur in our words. 

EXERCISE FOR CHANGE OF VOWEL SOUND. 

We may now make use of the first exercise upon syllables, 
that immediately following the Table of Elements; and use 
the syllables in groups of two and three, thus representing 
words of two and three syllables respectively, having a differ- 
ent vowel sound in each. In the first instance giving accent 
to the first syllable of each word \ as, 



56 GRAMMAR OF ELOCUTION. 

Exercise No. 7. 
Babii babli, bebe, bibi, boboobo, bububu, bou, boi. 
Dad 'a dada, dede, dldi, dodoodo, dududii, dou, doi. 
Gaga gaga, gege, gigi, gogoogo, gugugu, gou, goi. 
Vav'a vava, veve, vivi, vovoovo, viivuvu, vou, voi. 
Thath'a, th&thii, thethti, thithi, thbtJiootho, thuthuthu, thou, 

tJioi. 
Zaz'a zaza, zeze, zizi, zozoozo, ziiziizu, zou, zoi. 
Zhazb'a zhazha, zliezhe, zhlzhi, zhozhoozho, zhuzhwzhu, zhou, 

zhoi. 
Jaja jaja, jeje, jiji, jdjoojo, jujuju, jou, joi. 
JTaira x&xa, ceexe, #1x1, :ro;coo;co, xuxuxu, jtou, rroi. 
Wawa wawa, wewe, wiwi, wowoowo, wiiwiiwu, wou, woi. 
Lala lala, lele, lili, ldloolo, luliilu, lou, loi. 
Kara rara, rere, riri, rorooro, mruru, rou, roi. 
Mama mama, meme, mimi, momoomo, mumtimu, niou, moi. 
Nana nana, nene, nini, nonoono, nuniinu, nou, noi. 
Yaya yaya, yeye, yiyi, yoyooyo, yuyuyu, you, yoi. 
Papa papa, pepe, pipi, popoopo, piipupii, pou, poi. 
Tata tata, tete, titi, totooto, tututu, tou, toi. 
Kak'a kaka, keke, kiki, kokooko, kiiktiku, kou, koi. 
Ffifii fafa, fefe, fifl, fofoofo, fiifufu, fou, foi. 
Tbatb'a thatha, thethe, thithi, thothootho, tbiithuthu. thou, 

tlioi. 
Sas'a sasa, sese, sist, sosooso, susiisu, sou, soi. 
Shash'a sbasha, sheshe, shishi, shoshoosho, shfishiishu, shou, 

shoi. 
Chacha chacha, checbe, chichi, chochoocho, chuehuchu, cbou, 

cboi. 



ARTICULATION. 57 

Xaxa xaxa, xexe, xixi, xoxooxo, xuxuxu, xou, xoi. 
Whawha whawha, whewhe, whlwhi, whowhoowho, whtiwhu- 

whu, whou, whoi. 
Hah a haha, hehe, hihi, hohooho, huhiihu, hou, hoi. 

Tliis exercise is next to be repeated, giving the accent to 
the last syllable in each word. And I will repeat the caution 
to make a vast contrast in loudness between the accented and 
the light syllables, carefully preserving the correct vowel 
sounds in the latter. 

[Xote. — It may here be remarked for the information of those who 
merely examine this book, and hare no knowledge of the experimental 
teaching of its rules, that, in a practical point of view, the necessity 
of such exercises must be admitted by all who would wish to excel. 
It would seem that, with the aid of the careful directions here given, 
and the oft repeated cautions as to iutensity or loudness, contrast, 
correctness of vowel sounds, &c, any intelligent pupil might safely 
undertake to perfect himself without a master. I am confident that 
tasks involving far greater difficulties are daily accomplished by men 
of mediocre ability ; and yet I am compelled to confess that nine 
pupils out of ten, make but a clumsy and awkward business during 
some days, and often weeks, of their practice on these exercises, even 
with the aid of a watchful and attentive guide. Is it necessary to 
add that, until they do perform them with skill and propriety, they 
can entertain no reasonable hope of making proficiency in the more 
advanced stages of elegant reading ?] 

The following short list of words in common use, if care- 
fully submitted to the test of extreme accuracy in the unac- 
cented vowel sounds, will furnish a good and easy practice ; 
and the contrast of this with the common hurried pronuncia- 
tion of them, will exhibit the deformity of careless speech. 



58 



GRAMMAR OF ELOCUTION. 





Exei 


tCISE Xo. 8. 




Innocence 


serenity 


indigent 


interrogatory 


Indolence 


urbanity 


incipient 


parsimony 


Innovate 


morality 


delinquent 


alimony 


Intimate 


delinquency 


diffident 


irritable 


Isolate 


charity 


beneficent 


invincible 


Iterate 


futurity 


violent 


resistible 


Irritate 


theocracy 


parliament 


capable 


Hesitate 


velocity 


pertinent 


interminable 


Insulate 


proximity 


virulent 


pardonable 


Identity 


validity 


sentiment 


exhaustible 


Immaculate 


rusticity 


military 


comparable 


Emancipate 


agility 


commentarj' 


remunerable 


Itinerate 


scurrility 


statuary 


excusable 


Elucidate 


perversity 


numerary 


admissible 


Indurate 


periphery 


secretary 


indefatigable 


Eventuate 


terribly 


salutary 


benignity 


Inelegant 


fertility 


notary 


urbanity 


Effeminate 


civility 


sectary 


civility 


Elliptical 


hilarity 


oratory 


obscurity 


Empirical 


ferocity 


rotatory 


pertinacity 


Emanate 


credulity 


monitory 


tenacity 


Effectuate 


diversity 


laboratory 


perspicuity 


Effervescence 


excellent 


dilatory 


pusillanimity 


Epilepsy 


fervent 


derogatory 


inflammable 


Epitome 


imminent 


peremptory 


illimitable 


Purity 


redolent 


inventory 


convertible 


Obscurity 


benevolent 


conservatory 


controvertible 


Lucidity 


indolent 







ARTICULATION. 59 



CHAPTER VIII. 

COMBINATIONS OF CONSONANT ELEMENTS. 

One of the difficulties in pronouncing the English language 
arises from the harsh combinations of consonants, and the rapid 
changes necessary to be made in the position of the organs of 
speech, in order to give full utterance to the more complicated 
syllables ; the consonants, for instance, in the common words 
' fifth' and i clothes/ are daily omitted or imperfectly uttered, 
even by persons whose education would warrant us in expect- 
ing correctness of speech. Those whose usual habit of care- 
lessness have led to so corrupt a pronunciation as this, would 
do well to practice the following table, involving, as it does, 
some of the most complicated of consonant combinations. 

Exercise No. 9. 
Under Exercise No. 9 we merely repeat the practice of 
Exercise No. 4, for final stress, as a preparation for the com- 
plicated and harsh combinations, which follow in Nos. 10 
and 11, thus : — 



60 GRAMMAR OF ELOCUTION. 

Ab eb lb ob iib. An en in on iin. 

Ad ed id od ild. Ang eng ing ong ung. 

Ag eg Ig og ug. Ap ep ip op up. 

Av ev iv ov iiv. At et it ot iit. 

Ath eth ith Qtli nth. Ak ek Ik ok iik. 

Az ez iz oz iiz. Af ef if of tif. 

Azh ezh izh ozh uzn. Atb eth ith otb tith. 

Aj ej lj oj iij. As es is os us. 

Ax ex ix ox ux. Asli esh ish osh iish. 

Al el il ol til. Ach ech ich och iich. 

Ar er Ir or iir. Ax ex Ix ox iix. 

Am em Im om um. 

Exercise No. 10. 
We next take the same vowel elements a e i o u, and place 
them successively before the first nine sub-vowels and their 
cognate aspirates, as follows : — 

ib — ip 

id— it 

ig— Ik 

iv — if 

ith — ith 

iz — is 

izh — ish 

ij— ich 

Ax — ax ex — ex ix — ix 

"VVe next take the first two sub-vowel syllables ab ltd, and 

their corresponding aspirate syllables ap at, and explode them 

in this succession; as a word of four syllables having the same 



Ab — ap 


eb — ep 


Ad — at 


ed — et 


Ag — ak 


eg — ek 


Av — af 


ev — ef 


Ath — ath 


eth — eth 


Az — as 


ez — es 


Azh — ash 


ezh — esh 


Aj — ach 


ej— ech 



ob — op 


ub- 


-lip 


od — ot 


ud- 


-tit 


og — ok 


ug- 


-nk 


ov — of 


uv— 


-tif 


oth — oth 


\\th- 


-uth 


oz OS 


liz— 


-us 


ozh — osh 


uzh- 


— ush 


oj — och 


r U- 


-uch 


ox — ox 


ux— 


-11 X 



ARTICULATION. 



61 



vowel element in each syllable, and so on throughout the five 
short vowels, thus : — 

Exercise No. 11. 

Abadapat ebedepet Ibidipit obodopot ubudiiput 

adagatak edegetek Idigitik odogotok udiigutuk 

agavakaf egevekef igiviklf ogovokof iiguviikiif 

avathafath evethefeth ivithifith ovothofoth uvuthufuth 

azazhasash ezezhesesh izizhisish ozozhososh uzuzhtisush 

ajaarachax ejexechex ljixichix ojoxochox ujuxiichux 

These are difficult combinations, and require a considerable 
effort of the vocal powers ; in the last two lines of these ima- 
ginary words of four syllables, the utmost effort of respiration 
will be necessary in order to give distinctness to the sub-vowels 
z and zh, j and x ; otherwise these elements will not be dis- 
tinguished by the ear from their cognate aspirates in the latter 
syllables of the same words, in which they respectively occur. 
The effort required for such forcible utterance of syllables, 
is not an effort which will injure; but, on the contrary, one 
which must inevitably have the effect to strengthen the voice. 
Exercises less severe than these, would not be sufficient to 
prepare us for such combinations as are often found in our 
language. But having faithfully exercised the organs of 
articulation upon such combinations, until they can be dis- 
tinctly uttei^d with considerable rapidity, we shall be prepared 
for such as are found among the more difficult of the words 
and sentences which follow : — 

Arm, arms, arm'd, arm'st, arm'dst, arbitrary, armament. 
Bard, bards, burn, burns, burnt, burned, barge, burgh, burghs, 
6 



62 GRAMMAR OF ELOCUTION. 

breadth, breadths, bragged, brag'd'st, backed, bulge, bulged, 

breast, breasts, brain, blacken, blackens, blackened, black- 

en'st, blacken'dst. 
Candle, candles, chips, cliffs, cleaves, crony, cranny. 
Deeds, dread, drone, drear, dreary, dream, dreadful. 
Curve, curves, curved, curved' st, curvest, curricle. 
Elf, elves, Elbe, elm, elms, entomb 'd, engulph'd, emerged. 
Fall, falls, fall'st, false, flame, frame, flinched, fleeced. 
Grave, graves, glare, grain, grained, gland, grand, grasp. 
Health, healths, hung, hang'd, harp, harped, harp'st, help'st. 
Imprisoned, imprison'st, imprison' dst, prison, prisms. 
Laugh, laugh' st, latch, latched, latch' st, lamb, lambs. 
Mask, masks, mask'd, mask'st, must, must'st. 
Nest, nests, near, near'st, name, nam'd, nam'dsfc. 
Orb, orbs, ornate, suborn, suborn'st, suborn' dst, ordeal. 
Pluck, pluck' d, predicate, prostrate, penetrate. 
Queen, quench, question, equivocate, quadrate, quince. 
Ribs, ribb'st, range, rang'd, arranged, arrears, ripple, ripples, 

rippl'st, rippl'd'st, rear, reared, rear'd'st. 
Slay, smoke, snail, snarl, snarl'dst, ship, shipp'd, spasm, spasms, 

shelve, shelves, shelv'dst, strength, strengths. 
Tempt, attempt, attempt'st, travel, travel'st, travel* d'st. 
Verdure, verdant, vermin, venture, variegated. 
Wince, winc'd, warp, warp'd, wharf, wharfed, where. 
Drivel, drivel' d, drivels, drivel'st, drivel' d'st. 
Settled, settl'd'st. 

Muzzle, muzzled, muzzles, muzzl'st, muzz'ld'st. 
Nestled, swerved, liv'd'st, combat' st ; wreath'd, wreath'st. 



ARTICULATION. 63 

Curves, curv'd, curv'st, curv'd'st, search'd, who, which, whe- 
ther, when, where, whisper, wharf. 

The foregoing words, involving as they do many of the most 
difficult and harsh combinations of consonants frequently met 
with in our language, are to be read aloud with such an effort 
as may be required to give distinct utterance to every pro- 
nounceable* consonant contained in them. 

As it will be found that very considerable force is required 
for, this purpose, the pupil is now aware how very imperfect 
must be the common reading of our language, filled as it is 
with these combinations ; and how inadequate must be the 
degree of effort usually applied to the pronunciation of such 
words. 

EXERCISES FOR THE CORRECTION OF DEFECTS IN SPEECH. 

In addition to the defects above alluded to, there are vari- 
ous other ones habitually practiced by many persons ; and as 
these faults are seldom mentioned in books of instruction, I 
shall treat them separately, and prepare exercises well adapted 
to the correction of them. The sub-vowel sounds represented 
by v and w respectively, are often confounded. 

TTis often used for v, and sometimes v is used instead of 
io. This vulgar error is usually the result of habit alone, 
rather than any defect in the organs of speech, and may be 

* In such words as "mask'd," "fetch'd," &c, the sub-vowel ' d' 
is hardly to be considered pronounceable ; it will inevitably take the 
aspirate sound 't.' 



(J4 GRAMMAR OF ELOOUTTON. 

effectually cured by a rigid and persevering practice of the 
following exercises. 

Exercise No. 12. 

We make use of these elements alternately, placing them 
successively before the different vowels, and thus have the 
syllables, or words of two syllables. Wava. wava wava wava, 
weve we've, wivi wivi, wovo woovoo wove, wiivu wfivu wuvu, 
wouvou, woivoi. 

Exercise No. 13. 

Then we may reverse them, thus : Yawa vawa vawa vawa, 
vewe vewe, viwi viwi, vowo voowoo vowo, vuwu. vuwu vuwu, 
vouwou, voiwoi. 

Exercise No. 14. 

We may then construct a more complicated exercise by 
uniting the two in the following manner : Wavavawa w'ava- 
vawa wavavawa wavavawa, wevevewe wevevewe, wiviviwi 
wiviviwi, wovovowo woovoovoowoo wovo vowo, wuvuviiwii wu- 
vuvuwu wuvuviiwii, wouvouvouwou, woivoivoiwoi. 

Exercise No. 15. 
Afterwards reversing this last, we have vawawava vawaw'a- 
v'a vawawavava wawava, veweweve veweweve, vlwiwivi viwi- 
wivi, vowowovo voowoowoovoo vowowovo, vuwuwuvu vuwu- 
wuvu vriwiiwiivu, vouwouwouvou, voiwoiwoivoi. 

Exercise No. 16. 
When skilled in the use of this exercise the pupil may, with 
very little additional effort, blend in one these last two exer- 
cises, reversing the syllables. Thus : Wavavawavawawava, 



ARTICULATION. 65 

wavavawavawawava wayavawayawawaYa wayayawayawawa- 
va, weveveweyeweweye weVeyeweYeweweye, wiYiylwiyiwiwiyl 
wiyiyiwiyiwiwiyi, wovovowovowowovo, woovoovoowoovoowoo- 
woovoo, wovovowoVowowovo, wuvuyuwuyuwuwuyQ, wuyuvu- 
wuvuwuwuvu, wuyiiyuwuyuwuwuyu, wouyouyouwouyouwou- 
wouyou, woivoivorwoivoiwoiwoivoi . 

Exercise No. 17. 
This may even be reversed, as, vawawava-wavavawa, vawa- 
wava-wavavawa, &c, throughout. But before the pupil shall 
have acquired sufficient skill to go through with the exercises 
already written out, correctly and even with moderate haste, 
I am confident his fault will be so far reformed that by careful 
and forcible use of his organs of speech, in common language, 
he will seldom or never more confound the two elements in 
question.* 

* Better exercises than these could hardly be contrived for the pur- 
pose intended. They are used by Dr. Comstock, and conveniently 
represented by his Phonetic characters. 



6* 



6G 



URAMMAK OF ELuCUTIuX. 



CHAPTER IX. 

SOUNDS OF 'TV* AND 'WH.' 

THE LETTER ' H' — THE INDEFINITE ARTICLE AND THE PARTICLE AND — PRO- 
MISCUOUS SENTENCES FOR EXERCISES IN PRONUNCIATION. 

Another fault very common in speech, even among the 
more refined and educated, is the use of the sub-vowel element 
represented by < w' instead of the aspirate represented by ' wh/ 
The words ' which/ ' when/ ' where/ and ' whether/ are pro- 
nounced as if spelled with ( w' alone, and the effect of the c h' 
is wholly lost. This is merely the effect of carelessness in 
speech, and may easily be overcome. Should any particular 
practice be required, in order to overcome bad habits of this 
kind, I would recommend the following exercises : — 

EXERCISE FOR THE USE OF THE ASPIRATE f WH.' 
Exercise No. 18. 
"Wawha wawha wawha wawha, wewhe wewhe, wiwhi wiwhl, 
wowho woowhoo wowho, wtiwhti wiiwhii wuwhu, wouwhou, 
woiwhoi. Accent should be given to the first or sub-vowel syl- 
lable first, and afterwards the exercise should be repeated with 
accent upon the second or aspirate syllable. As in former ex- 



ARTICULATION. 67 

ercises, we may construct another by repeating the aspirated 
syllable, as it were to represent words of three syllables, thus — 

Exercise No. 19. 

Wawhawha wawhawha wawhawha wawhawha, wewhewhe 
wewhewhe, wlwhiwhi wlwhiwhi, wowhowho woowhoowhoo 
wowhowho, wtiwhuwhu wiiwhuwhu, wouwhouwhou, woiwhoi- 
whoi. G-iving the accent to the first syllable of the three 
on going over it the first time, the second time accenting 
the second syllable, and finally the last one ; observing always 
great accuracy of the vowel element in the unaccented sylla- 
bles. After the constant and frequent repetition of these 
syllables, if the sub-vowel and the aspirated syllables be widely 
distinguished from one another, a habit of correctness must 
very soon be formed which will be carried into the pronuncia- 
tion of language, both in reading and conversation. The next 
fault I shall call attention to is the habit of omitting the 
aspirate sound ' h' in the commencement of a word. The 
force of language- is much impaired by dropping this sound, 
and the beauty of sentences often wholly lost. 

It has not been deemed necessary to prescribe any particular 
exercise for the correction of this fault. Any pupil may put 
together sentences involving the frequent repetition of this 
element, and read them over with care until a habit shall be 
formed of giving due force to every aspirated <h:'* until such a 

* The sound of h is always aspirate; but the term is used here iu 
contradistinction to the silent h. The word humble, for instance, is 
pronounced umble by Walker, Worcester, and some other authorities, 
and in 'honor' the ' h' is never beard. 



68 GRAMMAR OF ELOCUTION. 

habit shall be formed the reading must be very defective. 
The pronouns he, his, him, &c, are common instances of this.* 

There are, in addition to the faults already enumerated, 
many others of so frequent and general occurrence as to con- 
stitute defects in reading, quite as great as some which arise 
from impediments or natural imperfections of speech. 

The conjunction ' and' is seldom pronounced as it should 
be, but takes the sound of ' un' or ' en/ or of a mere nasal, 
inarticulate ' n. ; The ' d/ which terminates it, should always be 
heard when possible to make it; it always is easy to do so 
when it is followed by a vowel, and frequently in other situa- 
tions. The vowel element belonging to it is a (the fourth 
sound of ' a'), but the vowel is to be pronounced without accent. 

THE INDEFINITE ARTICLE. 

The indefinite article is to have the sound of a, the fourth 
sound of ' a/ and is likewise to be pronounced without accent. 
But the common reader will find it very difficult to observe 
these last two directions without giving a stiffness to the read- 
ing — unless he shall have been well trained on the exercises 
relating to accent. And in general no reading can be cor- 
rectly performed and agreeable to the ear which is performed 
without reference to these particular points, viz. the unaccented 
vowels must have their legitimate sounds, and the accented 
syllables must be produced in striking contrast as to loudness, 
with the light or unaccented ones. These few rules are given 

* The subject of these inaccuracies will be more fully treated in 
the chapter on Pronunciation. 



ARTICULATION. 69 

here as preparations for reading correctly the following pro- 
miscuous sentences : — 

<- 

And surely never lighted on this orb, which she hardly 
seemed to touch, a more delightful vision. The evening was 
fine, and the full orb'd moon shone with uncommon splendor. 

Till that a capable and wide revenge swallow them up. 

To catch, with their surcease, success. 

He was incapable of a mean or questionable act. 

Thou prob'st my wound instead of healing it. 

Now set the teeth and stretch the nostril wide. 

Create a soul under the ribs of death. 

It was the act of all the acts of government the most objec- 
tionable. 

The government of England is a mixed government. 

What thou wouldst highly, that wouldst thou holily. 

A frame of adamant, a soul of fire, 

No dangers fright him, and no labors tire. 

Lenity marked his character, gentleness his manners. 

Urbanity of manners originates in the heart. 

A repulsive exterior often covers merit. 

The table groans beneath its burthen. 

Clothes are not the mark of a man, nor is wealth the measure 
of merit. 

And I heard a voice saying, "Cry;" and I said, " What 
shall I cry?" 

He watched and wept, he felt and prayed for all. 

The attempt and not the deed confounds us. 

Those who lie entomb' d in the public monuments. 



70 GRAMMAR OF ELOCUTION. 

Thou found'st me poor at first, and kecp'st me so. 

Modesty and merit oft go hand in hand. 

Pluck from the memory a rooted sorrow. 

Then if thou fall'st, Cromwell, thou fall'st a blessed 
martyr. 

Droves of slaves manacled and tied together were sold in the 
market-place. 

The heights, breadths, and depths of the subject. 

We saw, at the stern, a large dead fish floating. 

Thou lookest from thy throne in the clouds, and laughest at 
the storm. 

He begged pardon for having troubled the house so long. 

Arm it with rags, a pigmy's straw will pierce it. 

Stretched upon the bed of Procrustes. 

That tear'st the bowels of thy mangled mate. 

For them no more the blazing hearth shall burn. 

Every man's house is his castle. 

Foreign travel enlarges and liberalizes the mind. 

Thou liv'st — liv'st, did I say ? appear' st in the senate. 

The muzzles of their pieces were within a few feet of his 
breast. 

He was attacked with spasms. 

And he slew him. 

Thou chuckl'dst over thy gains too soon. 

One extremity was pointed, the other was bulb'd. 

The policy of the prince was to mulct the rich Jews. 

The costliest silks are manufactured there. 

O'erwhelmed with whirlwinds and tempestuous fire. 

A roused vengeance sets him new at work. 



ARTICULATION. 71 

The deep-mouthed blood-hound's heavy bay. 

Thou call'dst me up at midnight to fetch dew from the still- 
vex' d Bermoothes. 

Thy groans did make wolves howl, and penetrate the breasts 
of ever-angry bears. 

When thou earnest first, thou strok'dst me and mad'st much 
of me. 

The string let fly, twang' d, short and sharp, like the shrill 
swallow's cry. 

Why, in all the storms of this wide world, what wind should 
mar the violet ? 

The marble warm'd breathed music's sweetest tone. 

Ere the sweet spheres by discord's hand were wrung. 

Making their future might magnetic o'er the fix'd untreni- 
bling heart. 

The icicle that's curdled by the frost from purest snow. 

In these deep solitudes and awful cells, 
Where heavenly-pensive Contemplation dwells, 
And ever-musing Melancholy reigns. 

When squadrons fainting paused — or stark and stiff, 
Toppled to gulphy death far down the cliff. 

Supremest monarch of the mightiest realm, 
From Granges to the Icebergs. 

It was the severest storm of the season ; but the mast stood 
through the gale. He has taken leave of terrestrial enjoy- 
ments, and is laid in the grave, the common receptacle and 
home of mortals. 



72 GRAMMAR OF ELOCUTION. 

The shard-borne beetle, with his drowsy hums, 
Hath rung night's yawning peal. 

Where worlds on worlds compose one universe. 

I would 
Have sunk the sea within the earth, or e'er 
It should the good ship so have swallowed. 

Point against point rebellious, arm ' gainst arm, 
Curbing his lavish spirit. 

But in them nature's copy's not eterne. 

Which shall to all our nights and days to come 
Give solely sovereign sway and masterdom. 

Thy once proud hopes, presumptuous prince, are fled. 
Clad in Achilles' arms if thou appear, 
Proud Troy may tremble and desist from war. 

Hail, horrors ! hail, 
Infernal world ! and thou ! profoundest hell, 
Receive thy new possessor. 

And thou who kindlest and who quenchest suns ! 

Attest. May all the gods in general synod met 

Take fortune's power away. Break all the spokes and fellies 

from her wheel, 
And bowl the round nave down the hill of heaven, 
As low as to the fiends. 

In my vast sum of life 
Millions such units merge. 



ARTICULATION. 73 

Heaven wears no cloud; 
From nature's silent orbit starts no portent 
To warn the unconscious world. 

May thoughts of thy dread vengeance shake rny soul ! 
Earth's meanest son, all trembling, prostrate falls. 
Thrice flew the shaft, and thrice our peace was slain. 
The buskin'd muse with solemn steps descends. 

The following sentences, taken from Putnam's Elocution, 
will be found to involve difficult combinations ; and the prac- 
tice of such, affords an invaluable exercise for articulation : — 

The rough and rugged rocks rear their hoary heads high on 
the heath. 

He had great fear of offending the frightened fugitive in 
his flight. 

We wandered where the whirlpool wends its winding way. 

The swimming swan swiftly swept the swelling sweep. 

Round and round the rugged rocks the ragged rascals ran. 

Sam Slick sawed six slim sleek saplings for sale. 

Six brave maids sat on six broad beds and braided broad 
braids. 

Peter Prickle Prandle picked three pecks of prickly pears 
from three prickly prangly pear trees ; if, then, Peter Prickle 
Prandle picked three pecks of prickly pears from three prickly 
prangly pear trees, where are the three pecks of prickly pears 
that Peter Prickle Prandle picked from three prickly prangly 
pear trees ? Success to the successful prickly prangly pear- 
picker. 
7 



74 GRAMMAR OF ELOCUTION. 



CHAPTER X. 

QUALITY OP VOICE. 

NASALITY — ASPIRATION — HEAD TONES. 

The peculiar character of the voice, or quality of sound 
(called by the French timbre), is different in different indi- 
viduals, as the tone of any two instruments of the same kind 
differs. To whatever circumstances this property is to be 
ascribed, it is beyond our power to alter it materially ; and in 
this volume we confine our attention to those things which ice 
can teach; and devote our time to the removal of all obstacles 
within our reach, which obstruct the agreeable and correct 
use of the voice So we have but little to say on the subject 
of timbre. 

Many persons are in the habit of speaking with the mouth 
nearly closed, so that the words are not articulated, and 
the sound is badly emitted. 

The defect of this class of speakers has been spoken of as the 
swallowing of words. Those who have this fault to overcome, 
this practice of mumbling, should be required to follow the 



ARTICULATION. 75 

loud exploding practice daily, until they can easily insert three 
of their fingers, one upon another, between their upper and 
lower teeth. 

This may at first appear a difficult undertaking ; but patient 
perseverance in the use of the jaws, producing loud explosive 
vowel sounds, will be found greatly to facilitate the desired 
end ; and will furnish the best possible remedy for this very 
disagreeable fault. The practice enjoined may be made upon 
the Table of Elements, and continued advantageously through 
all the subsequent exercises for Articulation. 

Some speakers keep the mouth open while they speak; 
that is, the orifice of the mouth is too soon enlarged, and suf- 
fers the sound to escape before the syllables are formed. This 
gives rise to an effeminate and loose kind of speech, very objec- 
tionable and wholly devoid of dignity. 

The correction of this defect lies in the most rigid practice 
of forming the syllables further back in the mouth, and in 
keeping the lips nearly closed until the moment of uttering a 
syllable. In this way the muscles of the mouth will be trained 
to a more careful and correct articulation. And although the 
effect of this practice will be a constrained and somewhat arti- 
ficial manner for awhile, yet it is essential in such cases as are 
here alluded to, and constitutes the only remedy that will prove 
adequate to the cure of this defect. 

Nasality is a very common fault in speech, and affecls 
unfavorably the quality of voice. It affects the manner, to a 
greater or less extent, of a far greater proportion of speakers 
than is commonly supposed. Perfect exemption from this 
pernicious fault is only to be attained by preserving a proper 



<0 GRAMMAR OF ELOCUTION. 

attitude, and keeping the head passages open and free; and by 
watching with jealous care the character of every sound, par- 
ticularly where the elements c m' and <n' are concerned.* 

There is also a huskiness of voice, or aspiration, which is 
unpleasant to the ear. The only remedy for this roughness is 
constant and careful practice in exploding. The explosive 
quality or intensity of the vowel sounds is in its nature dia- 
metrically opposite to the aspiration in question; and this 
property (the former) should be made to preponderate over 
the latter. The aspiration may be greatly diminished by watch- 
ful care in the utterance of each syllable. 

"("Head tones. It is to be hoped that no student will reach 
this chapter in ignorance on this subject. For the object of 
the earliest lessons in exploding was to train the voice to the 
clear and full expression of f chest tones; and all tendency to 
the use of head tones (called by musicians falsetto), and, indeed, 
to other faults in uttering sound, should have been wholly 
overcome before the practice of exploding exercises was dis- 
continued or remitted. Nevertheless it has been thought pro- 
per to specify in this chapter, under the head of Quality of 
Voice, precisely those faults, and to characterize and describe 
them thoroughly, which are susceptible of emendation or re- 
moval by legitimate and practical means. 

* The habit of speaking in spectacles has been considered objec- 
tionable on account of the compression occasioned at the point of 
contact ; a degree of nasality will be likely to ensue. 

f These terms, head and chest tones, are not founded in science, nor 
strictly correct; but are usually employed to indicate well-known 
characters of voice. 



ARTICULATION. 77 



CHAPTER XL 

GRACES OF DELIVERY. 

THE RHETORICAL PAUSE — EVENNESS OP TONE— NATURE OP HEAVY OR AC- 
CENTED SYLLABLES — QUANTITY — SHORT ACCENTED SYLLABLES — FORCE OP 
PERCUSSION — LIST OP WORDS ADAPTED TO THE DISPLAY OP QUANTITY — 
THE VANISH — ABRUPTNESS — TRANSITION. 

Among the various arts by which the most effective utter- 
ance of language is acquired is the use of the rhetorical 
pause.* This is the suspension of the voice before or after 

* The renowned Garrick was eminently skillful in the use of these 
pauses. His unrivalled power over the minds of his audience is pro- 
verbial ; and there is no doubt that among the arts by which he 
acquired it may be reckoned his judicious use of the rhetorical pause. 
A striking record of it may be found in the severe though expressive 
language of Sterne : — 

"And how did Garrick speak the soliloquy last night?" 
"Oh, against all rule, my lord. Most ungrammatically! Betwixt 
the substantive and the adjective, which should agree together in num- 
ber, case, and gender, he made a breath thus stopping as if the 

7* 



78 GRAMMAR OF ELOCUTION. 

important matter, in order to give it prominence, to call atten- 
tion to it, to allow time to reflect upon it, or to leave it more 
strongly impressed on the mind. Much of the effect in 
reading depends upon the pauses which are introduced, and 
an essential art to be acquired is the judicious use of them. 
To excel in this requires the exercise of a cultivated taste and 
ear, as much as the management of inflections, the observance 
of measure, the transition of voice, the acceleration or retard- 
ing of rate, the display of contrast, or any other resources of 
graceful delivery, require it ; and the places and length of these 
pauses can only be determined by the exercise of such taste 
and judgment. 

Another of these graces of a finished style, is a property 
called by Professor Barber evenness of tone. 

It is easier to understand what is meant by this expression, 
than to point out in few words wherein it particularly consists. 
But if we can give clear and intelligible directions for the 
avoidance of those faults and abuses which mar the agreeable 
utterance of language, we shall have taken a step towards the 



point wanted settling ; and betwixt the nominative case, which your 
lordship knows should govern the verb, he suspended his voice in the 
epilogue, a dozen times, three seconds and three-fifths by a stop 
watch, my lord, each time." 

"Admirable grammarian! But in suspending his voice was the 
sense suspended likewise? Did no expression of attitude or counte- 
nance fill up the chasm? Was the eye silent? Did you narrowly 
look?" 

"I looked only at the stop watch, my lord." 

" Excellent observer!" 



ARTICULATION. 7$ 

acquisition of a chaste and impressive style of reading. And 
if we can afterwards teach the best use of the voice, and culti- 
vate the ear to appropriate inflections;, natural and easy transi- 
tions, and judicious pauses, we shall have overcome all obstacles 
to the attainment of this essential element of good reading, 
viz., evenness of tone. 

Now, in order to secure such a result, the observance of the 
foregoing rules, and diligent practice of the exercises, have 
been enjoined, and should have already enabled the pupil to 
bring out his voice to advantage, to display its best tones, 
to command its resources with ease, and to apply them with 
economy and effect.* If this has been done, we are now pre- 
pared for the separate consideration -of each kind of accented 
syllables. 



NATURE OF HEAVY OR ACCENTED SYLLABLES. 

Syllables have hitherto been spoken of as being either 
accented or unaccented ; and it has been insisted on that those 
which are not to be accented should be uttered with their 
legitimate vowel distinctly audible, while in loudness they are 
to form a striking contrast with the accented ones. 

Accented syllables are of two kinds generally; which may, 
for convenience, be designated by the terms long and short 
accented syllables. But there are syllables of such a nature 
as to participate, to a certain extent, in the peculiarities of 
each of these two kinds. 

* Nee abest facundis gratia dictis. 



**0 GRAMMAR OF ELOCUTION. 

Quantity. — -Long syllables are such as are susceptible of 
quantity, and quantity means the prolongation or continuance 
of sound. Syllables containing the long vowel sounds are 
often eminently susceptible of quantity, as 'angel, 1 'holy,' 
' hail.' The first syllable in each of these words owes its 
quantity to the long vowel element. The first syllable in each 
of the words ' fearless/ 'endless/ 'warning,' ' mournful, ' is 
susceptible of quantity by virtue of other considerations than 
the character of their vowel element. 

Short syllables are accented by percussive force. They 
are only to be uttered by an abrupt explosive effort, and can- 
not be said to be susceptible of quantity or extension. The 
first syllable in the words 'habit/ 'battle/ 'temporal/ 'radi- 
cal/ is short, and cannot be prolonged with any show of pro- 
priety. Such syllables, then, are to be accented by the force, 
of percussion. 

The voice should now be exercised in the faculty of giving 
quantity; and for this purpose a list of words is subjoined, re- 
quiring the display of this element. The voice is to come out 
free and unobstructed from the chest, as low down as possible, 
and the sub-vowel sounds are to be given fully and slowly, so 
that the spelling of the words, as far as possible, shall be 
known to the ear by their clear and perfect articulation. 

Day, age, eel, ooze, isle, thou, our, arm, warm, orb, aid, 
save, old, all, stars, call, home, hose, flow'd, air, star, war, 
prose, knoll, lull, one, burn, swell'd, wild, fair, plumed, there, 
praise, tears, turn, man, woe, gain, spire, rhyme, hail, world, 
aim, pure, dove, low, moved, times, wings, benr, scorn, doom. 
bale, flames, knows, nine, morn. 



ARTICULATION. 81 

Words of similar construction to these are eminently sus- 
ceptible of quantity, and require to be uttered with fullness 
and deliberation. 

If the time occupied in the utterance of such syllables be 
compared with the duration of syllables like 'act/ 'put/ 
1 work/ l blood/ ' bliss/ ' gift/ or with that of the first syllable 
in the words { finish/ ( perish/ ( manage/ ( village/ ( mention/ 
a striking contrast must appear; and yet syllables of this latter 
kind may be strongly accented by the forcible and abrupt man- 
ner of striking them. 

The Vanish. — Much has been said by some writers, and 
justly, as it seems to me, on the beauty and effect of a dis- 
tinctly marked vanish. The meaning of' this is that, after the 
utterance of an accented syllable which is followed by a pause 
or suspension of voice, the sound of that syllable should be 
heard to die away, as it were, by a gradual and tapering pro- 
cess, until it is lost to the ear. This is in contradistinction to 
the short and abrupt ending which is common to fast reading. 
An example may be found in the following lines, taken from 
the opening of Shakspeare's Richard III. 

"Now, is the winter of our discontent 
Made glorious summer by this sun of York." 

Observe the vanish of the word 'Now/ after which, if pro- 
perly spoken, the voice should be suspended for a moment, as 
well for the purpose of emphasis as to give opportunity pro- 
perly to take up the unaccented vowel sound which follows ; 
and, perhaps, not less than either, for the sake of this very 



82 GRAMMAR OF ELOCUTION. 

effect, viz., to display the fine delineation of the vanish upon 
the syllable ' now.' 

Abruptness is one of the forms of force; one of the 
modes of its application considered essential to the full expres- 
sion of certain emotions. The syllables in our language which 
have been described as not susceptible of quantity, were said 
to furnish examples for the display of the force of percussion ; 
and many passages might be quoted where a succession of 
monosyllables invite this species of emphasis. Observe the 
short percussive force in the following examples : — 

" The string let fly, 
Twang'd short and sharp, like the shrill swallow's cry." 

" When squadrons fainting paused — or stark and stiff, 
Toppled to gulphy death, far down the cliff." 

"And bowl the round nave down the steep hill of heaven." 

The abruptness of the short accented syllables in these lines 
is well adapted to the sentiment of the language. It forms a 
striking contrast with the smooth flowing character of verses 
where long quantity is displayed.* 

Transition of voice might likewise be here spoken of as 
constituting one of the beauties of agreeable speech -, but as 
that subject belongs legitimately to Intonation, it will be 
treated in the Second Part. 



* This property of language, as it properly belongs to rhythm, will 
come under particular consideration in the Third Part of this book, 
which is devoted to the subject of Measure. 



ARTIC1 T-ATIOV. 83 



CHAPTER XII. 

PRONUNCIATION. 

STANDARD OP PRONUNCIATION — ERRORS OP THE VULGAR — ERRORS OP THE 
ERUDITE — CUSTOM — COMMON ERRORS CLASSIFIED — LIST OP WORDS IN COM- 
MON USE, ACCENTUATED ACCORDING TO THE MOST APPROVED AUTHORITY. 

The word pronunciation, in its restricted sense, means 
simply the giving of accent or force to the right syllable of a 
word, and a certain breadth or closeness to the vowel sounds. 
Now in this narrow signification, it may be difficult to find a 
standard of pronunciation which the Philologist will readily 
accept. 

As regards the determining of the accented syllable, there 
are many words in which no general agreement among scholars 
has ever been effected ; and as to the more open or the closer 
sound of the vowels, as of ' a' in the words l dance/ ' com- 
mand/ &c, this is often merely a characteristic of localities, 
and therefore a provincialism. A disagreement on this may 
distinguish persons from different countries, or from distant 
parts of the same country; but can never furnish a criterion 
by which to judge of the erudition or the correctness of a 
speaker. 



84 GRAMMAR OF ELOCUTION. 

However this may be, it is certainly a desideratum that a 
standard of pronunciation be determined on, which should be 
recognised by scholars, taught in the schools, and receive the 
sanction of the erudite generally ; and to this standard all who 
seek to express themselves with correctness and elegance should 
aspire. 

But the word pronunciation has a broader meaning, and 
involves much more than is implied in the criticisms of those 
cavillers upon words, who, because they have learned the most 
acceptable accent of certain words often mispronounced, seem 
to think they have reached the ultima thule of erudition ; 
while at the same time they have never commanded the first 
principles of the true pronunciation of the English language. 

To these principles the whole of the first grand division of 
this book is devoted ; and one who is not master of all that is 
taught therein, is in no wise qualified to criticise pronunciation. 

It is comparatively an easy thing to keep informed of the 
changes gradually taking place in polished circles, as to the 
accent of words; and an acquaintance of six weeks' time, with 
the last edition of Webster or Worcester, will put any careful 
student beyond the danger of severe criticism in regard to 
accent. But it is quite another thing to avoid the thousand 
errors and abuses which mark the conversation of ninety-nine 
persons in every hundred all around us, in their daily, hourly 
intercourse.* 

* Two scholars, both of them public speakers by profession, were 
commending and admiring the skill which observed a marked distinc- 
tion between the sound of 'e' in 'perfect,' 'mercy,' &c, and the 



ARTICULATION. 85 

There seems to be but little excuse for ignorance as to the 
correct accent of words in our language ; for, by the aid of 
modern pronouncing dictionaries, and occasional intercourse 
with those who speak with care, one may easily acquire habits 
of general correctness, or at least avoid the vulgar errors which 
characterize the speech of the illiterate. 

There is a class of errors peculiar to the ignorant, and which 
would never be likely to be made by persons familiar with 
other languages, or conversant with the etymology of their 
own. And there are also many words in common use among 
those esteemed well educated, which are mispronounced with- 
out apparent reason or excuse. 

Those who are careless in this regard, will frequently deny 
the authority of one dictionary and refer you to another ; on 
examining the other they will sometimes find doubt expressed, 
or latitude of option given \ and on seeking that which is most 
approved or correct, they will usually adopt the form which 
they never used before. Thus virtually conceding the point 
that they had not considered or consulted before. Thought- 
lessness is at the bottom of their errors. 

Others, astonished to hear a new sound, will dispute its cor- 
rectness without reference to any authority, saying that the 



common sound of ' u' in 'murder,' so generally used for 'e.' They 
regarded the sound beautiful, and the distinction important. But 
neither of them took the pains to pronounce the conjunction ' and' 
correctly, either in reading or speaking; and they both said 'com- 
munion,' 'chatty,' 'carrier,' and 'prais'im,' for 'communion,' 'cha- 
rity,' 'career,' and 'praise him.' 
8 



86 GRAMMAR OF ELOCUTION. 

authority which sanctions such a sound, stands self-condemned ; 
and will stoutly maintain that no authority is equally valid 
with that of custom. 

If such persons mean the custom of the vulgar, such autho- 
rity will not furnish a suitable rule for those who seek to 
advance or improve. If the custom of the refined and the 
erudite is intended, this is, to a certain extent, the test to 
which the learning of scholars is to be submitted ; that is, the 
study of our own language is first to be attended to; and the 
eminent orthoepists must be carefully read and compared ; the 
true sounds of the various combinations of letters, according to 
the analogies of language, must be derived from such sources, 
and compared with the living authorities of the best speakers. 

If, for instance, Worcester's dictionary shall be found to 
sanction the ' i' sound in the word ' either/ or should have 
left it unsettled, allowing both sounds to be correct, the < e 
and the ' 1/ and if it should be shown that in the most refined 
circles of society, say in Washington or Boston, the sound of 
' f were used, it would in this case be safe enough to give ifc 
the preference. Or if, on looking out the word ' wound/ it 
should be discovered that Dr. Walker had really preferred the 
<ou' sound, as pronounced in the words ' found/ ' round/ &c, 
and that Dr. Webster had unhesitatingly given his sanction to 
this preference, discarding the sound of ' 00/ this would be 
sufficient to establish the correctness of the < ou' sound. But 
if, after all efforts on the part of teachers and careful speakers 
for a number of years, to introduce or render fashionable this 
correct sound, it should prove but a fruitless attempt, the effort 



ARTICULATION. 87 

would be abandoned as hopeless ; and such results have some- 
times taken place.* 

It would be very useful if the most common errors in pro- 
nunciation could be so classified and arranged as to exhibit 
them in order ; and still more to be desired is a law or principle 
by which one may know at once the most correct pronuncia- 
tion of any word. But so fluctuating are the modes and 
fashions of speech, and high authorities are often so much at 
variance, that this last is perhaps impossible. Yet the different 
faults of pronunciation may be classified to some extent ; and 
tables of words may be so arranged as to show the various 
principles violated in common speech. But, since the table of 
elementary sounds exhibits the correct sound of each element, 
and the student may reasonably be supposed by this time to 
be perfectly familiar with them, and we have also shown the 
careless and indiscriminate use so frequently made of the 
cognates, the sub-vowels being employed for aspirates, and 
vice vers& (vide page 49), it may be sufficient here to men- 
tion the faults and abuses most frequently resulting from the 
want of reflection, and to finish the chapter with a list of words 
rightly accentuated, which are most frequently mispronounced. 

It has been already stated that the broader or closer sound of 



* It was at one time declared on high authority that the correct 
pronunciation of the word 'schism,' which occurs in the litany of the 
Church of England, requires the sound of 'k' (skism). The authority 
was not disputed ; but the officiating priests, wanting the courage to 
introduce so new and uncouth a word, agreed to resist any authority 
which should undertake to enforce it. 



88 GRAMMAR OF ELOCUTION. 

the vowel ' a'* is to be regarded in the light of a provincial ism, 
and is in itself neither reprehensible nor praiseworthy j but 

1. I have chosen to inculcate an intermediate sound between 
that of the vowel element in ' fair' and that in ' hat / but 
nearer to the latter in sound than to the former. 

2. The particles -a' and 'and' have been spoken of; they 
should have the sound a, the fourth sound of ' a/ and be very 
lightly touched. 

3. The words ' catch' and ' gather' in the mouths of careless 
speakers, often take the sound of short ' e/ as ' ketch/ ' gether/ 

4. The ' a' is often slighted in the first syllable of words 
where it is unaccented ; such as ' arrest/ ' career/ ' affect/ &c. 

5. In many words terminating in ( ory/ as ' observatory/ 
'laboratory/ 'derogatory/ and a long list besides, the 'o' is 
pronounced like ' a.' This fault is very common to old men ; 
and the habit once formed, the ear soon becomes obtuse, and 
the error is perpetuated. 

6. The substituting of 'u' for 'o' in unaccented syllables 
has been noticed before. ' Conceal/ ' connect/ ' compare/ sound 
better than 'cunnect/ 'cunceal/ and 'cumpare/ besides having 
the sanction of all high authorities. Even in accented syllables 
this error is sometimes committed, as in the words ' yonder' 
and 'beyond/ frequently pronounced 'yunder/ 'beyund.' 

7. The unaccented ' i' should here be noticed ; and the false 
obscure sound of 'u' or 'ur' should never be substituted for it. 
For practice for the correction of this defect the pupil is re- 



* In words like 'dance,' 'grant,' 'trance,' 'France,' 'pant,' ' graft,' 
&c. 



ARTICULATION. 89 

ferred to Exercise 6, and thence to test the effect upon the 
list of words immediately preceding the chapter on Combina- 
tion of Consonant Elements. 

8. The oo sound in ' bouquet' is often pronounced like 3 : 
this is wrong. 

9. The soft u should be separated as much as possible, in 
pronouncing it, from the consonant preceding it ; otherwise we 
have the corrupt sound ' ch/ which does not belong to it at all. 
' Nature/ ' lecture/ ' intellectual/ may easily be pronounced 
rightly if the pupil will take the pains to finish the consonant 
sound before the ' u/ by separating the tip of the tongue from 
the roof of the mouth, and then commence the last .syllable, 
as it were with the sound of ' y/ bringing the lips suddenly 
very nearly together. ' Nate-yure/ ' lect-yure/ &c. Dr. Web- 
ster labored to enforce this principle as being more elegant ; 
but in the present day it is indispensable, 

10. A corrupt and very offensive sound results from neglect 
of the ' r' in words where it is preceded by a vowel : such 
as the following, 'burn/ 'turn/ ' return/ 'avert/ 'concert,' 
' discern/ &c. These words are often pronounced as if a ' y' 
or some faint vowel sound were substituted in the place of 
the ' r.' 

Great care should be used to avoid this effeminate sound, 
by giving full force to the ' r/ and finishing its sound before 
adding the letter which follows.* 

The beautiful word 'Orleans' is shamefully abused by thus 

* This disagreeable fault pervades the schools to a very annoying 
extent. The cure, however, is not difficult. It consists in a vigorous 
practice upon lists of words constructed for the purpose. 



90 



GRAMMAR OF ELOCUTION. 



slighting the 'r/ and accenting the e as if there were but two 
syllables, thus 'New Ulleens.' So with the ' r' in ' Cordelia/ 
and 'Cornelius/ often pronounced ' Kuddelia' ' Kunnclius.' 
The words ' record/ ' purport/ become ' reccud/ ' purput/ and 
a multitude of others similarly constructed suffer this most 
inharmonious curtailment. 

11. An error of opposite nature is committed by those who 
give four syllables to ' imagery' and six to ' extraordinary/ 
The correct pronunciation is ' im-age-ry/ ' ex-tror-di-na-ry.' 

12. Many persons sound the ' t' in words where it should 
be silent, thus giving vocality to the second syllable of the 
words ' often/ ' listen/ ' soften/ ' hasten/ &c. Females who 
keep school are frequently addicted to this fault. It has a 
pedantic sound, and wants the sanction of correctness. Some- 
times the word 'heaven' is likewise heard in two distinct 
syllables, as ' hea-vun.' 

13. The participles 'buried/ 'carried/ 'hurried/ &c, are 
often by the same class of persons, uttered as having each three 
syllables, bu-ri-ed, &c. : this is wrong. The word ' parliament' 
should have but three, par-li-ment. 

14. These latter corruptions are as objectionable as an ana- 
logous one relating to words ending with ' m' preceded by a 
consonant. Such are 'elm/ 'helm,' 'overwhelm/ 'prism,' 
' deism/ ' atheism/ and many others ; but this fault is chiefly 
confined to a more illiterate class, such as give but three sylla- 
bles to ' usually/ as ' ushally.' Many such persons add a syl- 
lable to the word 'attacked/ or substitute 't' for 'k:' thus, 
' attacted.' 

15. There are some peculiarities which have generally 



ARTICULATION. 91 

obtained, and yet of which it may at first glance seem doubtful 
whether they are to be considered as graces or abuses. In 
settling such questions we must be chiefly guided by the sphere 
in life, or the degree of erudition, enjoyed by those who have 
these peculiarities. If custom be adduced as a reason for 
adopting a mode of pronunciation not authorized by dictionaries, 
we have only to show that it is the custom of the erudite, the 
refined; and not that of the illiterate. Of this nature is a 
certain softening or intermixture of vowel sound on the letters 
g and k in certain positions. There are a few words where 
this seems decidedly an improvement, as ' guide/ ' garden/ 
1 guardian/ ? kind/ ' sky/ and some others. The custom has 
been almost universal among elegant speakers, and has obtained 
the sanction of refinement. But the strict propriety of such 
license may reasonably be doubted, especially as it is subject to 
be pushed to a ridiculous extent. For instance, those persons 
are not wanting in the dramatic world who apply this rule to 
the words ' cart/ ' carpet/ and many others where its sound is 
still more out of place, as ' kyarpet/ ' kyart / carried to this 
excess it deserves no place among the graces of speech* 

16. The word ' conquer' is often heard on the stage as if it 
were spelled with a ( w' after the hard sound of the <q/ 
Instead of ' conker/ it sounds like ' conkwer.' It is hardly 
necessary to say that this is wrong. 

17. The word ' languor/ indeed, has such a sound, although 
we often hear it omitted in speech - } thus, ' langor.' 

In the word ' physiognomy' the full force of hard i g' and 

* Nomina honesta prpetenduntur vitiis. — Tac. 



<v? 



GRAMMAR OF ELOCUTION. 



that of the ' n' likewise should be heard, ' phys-i-og-no-ffly.' 
In the word ' poignant' the ' g' is not heard, 'poi-nant.' 

18. Under No. 9 the impurity of the sound ' ch' introduced 
unnecessarily was dwelt upon. This false sound is frequently 
heard in the last syllable of the word ' covetous/ pronounced 
sometimes ' covetchous.' There is no excuse for this, as the 
spelling of the word does not even hint at it. 

19. That the 'th' in the words 'fifth' and 'clothes' should 
be often slighted by persons speaking without care, is perhaps 
not much to be wondered at ; but that any excuse for such a 
vulgarism should be founded upon learned authority, is cer- 
tainly much to be regretted. Notwithstanding this, the latter 
corruption has crept into a modern dictionary of considerable 
importance, as an alternative; thus, 'clothes' or 'close.' But 
it should be discarded as a remnant of barbarity. 

20. Such impurities as are censured in Nos. 9 and 18 are 
also to be avoided in the words 'odi-ous/ not 'ojus/ ' Indian,' 
not 'Injun,' ' obe-di-ent' and 'audi-ence,' not 'obejent' nor 
'aujence.' 

21. In certain parts of New England the vowel element in 
words like ' door' takes a false sound, more like that of 'for;' 
that of "'your,' which should be 'oo/ has the sound of 'yore.' 
The number ' forty-four' is pronounced almost exactly the same 
in both parts as ' forty-for.' This is wrong. 

22. ' First' takes the short sound ' fust,' and ' thirsty' sounds 
too much like ' thusty.' 

23. In more southern latitudes the ' ar' in 'barn' has a 
sound more nearly resembling ' or/ and ' Charles' sounds like 
' Chawlcs.' 



ARTICULATION. 9o 

24. Where two consonants come together in a word, one of 
them is often slighted or wholly passed over, as the ' n' in the 
word ' government/ the 'c' in 'Arctic/ the 'w' after ' k' in 
' awkward.' The word ' only 7 is by many persons pronounced 
so that the 1 is scarcely audible, and it sounds like ' ony.' 

25. Where a consonant is doubled in the midd 7 e of a word, 
a doubt seems to exist in the minds of many how they should 
pronounce it ; and from the misty and confused sound often 
heard in the pronunciation of such words as ' suggest/ ' suc- 
cinct/ ' flaccid/ &c, I judge the following explanation to be 
needed in regard to them : The first ' g' in ' suggest' coming 
after ' u' requires the hard sound as in ' sugar / but the second 
< g' coming before ' e' takes the soft sound as in ' gesture/ 
'general/ 'gerund/ &c. In 'succinct' and 'flaccid' the first 
' c' is hard like ' k/ and the second soft like ' s/ as in the 
words 'accent/ 'eccentric/ 'Occident/ &c. This is true of 
the words cited, but is not, however, an invariable rule appli- 
cable to all double consonants, for sometimes the repeated con- 
sonant is hard in both instances, as the two ' c's and the two 
' g's in the following words ' acclimate/ ' aggravate/ ' occult/ 
' occasion/ ' niggardly/ &c. In the word ' exaggerate' it is 
soft in both instances. 

26. The word ' irrefragable' is subject to sad misusage even 
in the mouth of the educated. The ' g' before ' a' is always 
hard ;* and when pronounced soft it gives the impression of 
ignorance in spelling, for if the ' a' were changed to ' i/ ' g' 

• The only exception to this rule, as far as I know, is in the old 
word ' gaol,' now almost obsolete, or wholly superseded by 'jail.' 



y4 GRAMMAR OF ELOCUTION. 

would have the soft sound. The accent of this word may be 
a subject of doubt, as it is by some orthoepists placed upon the 
second, and by others upon the third syllable ; but the correct 
sound of the < g' cannot be doubted by any one who is at all 
conversant with the principles of the English language. 

27. The beauty of language is sacrificed by omitting the 
sound of l h' unaccented, in phrases such as * pull him out,' 
1 take his arm/ spoken frequently as if written < pullim out/ 
1 takis arm.' 

28. It is an impurity of speech to run together the conso- 
nant at the end of a vowel with ' y' at the beginning of the 
next one, as in the phrases, ' not yet/ ' don't you go/ ' did you 
or did you not / frequently spoken as ' no chet/ * don choo 
go/ f dijoo or dijoo not/ &c. l Front-door' sometimes sounds 
like 'frundoor/ ' cut down' like 'cud down/ 

As to the question whether the long or the short vowel sound 
be preferable on the accented syllable in words like ' heroine/ 
' prelate/ l prebendary/ ' presage/ and many others of similar 
construction, it may be answered that neither sound should be 
looked upon as an error. Prelate is correct, and prelate is not 
less so; but there is a fluctuation in the fashion, as well in 
regard to pronunciation as in other things, even among those 
who are sticklers for the right way. And, to conform to the 
most approved usage of the day, I have no hesitation in choos- 
ing the short sound of the vowel, heroine, prelate, prebendary, 
&c. This conforms to the most accepted pronunciation in a 
multitude of words with different accented vowels, such as 
pageant, tribune, national, rational, redolent, patent, privacy, 
isolate, dynasty, dilatory, presage, and many others. 



ARTICULATION. 



95 



But when it is considered that but a small portion of the 
faults and imperfections of common speech have been noticed 
in the above category, it will perhaps appear that the exercises 
which commence these instructions are of some value. I know 
of no efficient remedy for all these errors and abuses but the 
diligent and persevering use of such exercises. 

This chapter and the subject of Pronunciation will be con- 
cluded with a list of words, most of them in common daily use, 
which are frequently mispronounced by persons of considerable 
pretensions to learning. They are accentuated according to 
what the author esteems the most approved and correct modern 
usage. 



Accessory 


Commend'able 


Des'ultory 


Accli'mated 


Comparable 


Dioc'esan or 


Ad'mirable 


Compensate 


Di'ocesan 


Adult' 


Complacent 


Di'vers 


Advertise' 


Complaisant 


Di'verse, adj. 


Al'abaster 


Compromise 


Ener'vate 


All/ 


Condolence 


Enervated 


Alternate, v. 


Conjure / 


Epit'ome 


Ame'nable 


Conjure (kun) 


Ep'ilepsy 


Antip'odes 


Consistory 


Er'udite 


Arabic 


Consummate 


Essay'ist 


Belligerent 


Conversant 


Exacer'bate 


Camel'opard 


Decorous 


Ex'cretory 


Celibacy 


Demonstrate 


Ex'cretive 


Char'acterize 


Demoniacal 


Ex'einplary 


Coadju'tor 


Designate 


Ex'orcise 



GRAMMAR OF ELOCUTION. 



Exquisite 

Extirpate 

Horizon 

Herculean 

Il'lative 

Illicit 

Illusory 

Illustrate 

Imbecile 

Importune' 

Indeco / rous 

In / fantile 

Iuiui / ical 

Inconsolable 

Inqui'ry 

In / teresting 



Interpolate 

In'ventory 

Irrep'utable 

Irrep'arable 

Lam'entable 

Legislative 

Lieuten'ant 

Metamorphosis 

Obligatory 

Ordeal 

Orison 

Or'tboepy 

Partisan 

Peremptory 

Plat'ina 

Plebeian 



Posthumous 

Precedence 

Pre / cedent 

Presag / ing 

Protean 

Protestant 

Purporting 

Remediless 

Repertory 

Red / olent 

Respited 

Retina 

Trav / erse 

Trav / esting 

Va / riegated 



PART II. 

INTONATION 



CHAPTER I. 

INFLECTION — PITCH — CADENCES. 

RULE FOR ASCERTAINING KEY-NOTE OR NATURAL PITCH OF VOICE. 

Intonation is the term used to cover the whole ground of 
what relates to the song or melody of language. Under this 
general heading we are to consider the subjects of Pitch, 
Inflection, and Cadences. 

Pitch, abstractly considered, means elevation or depres- 
sion of voice, as referred to the musical scale. 

Inflection is the change of pitch which takes place in the 
utterance of a single syllable; and the cadence involves a 
change affecting both pitch and inflection. 

The subject of Intonation being to some minds exceedingly 
difficult of apprehension, it will be necessary to render it as 
9 (97) 



98 GRAMMAR OF ELOCUTION. 

simple or as intelligible as possible, by a separate considera- 
tion of pitch and inflection. 

We use the term Pitch as applicable to the general tone of 
voice in which a discourse or a paragraph is read; and the 
elevation or depression of this pitch is determined by referring 
this average tone, to the scale of music ; the note there, which 
most nearly corresponds to it, will indicate the pitch of voice 
in which the language is read. 

There is a note of music for every one's voice, to which it 
will more nearly correspond in free and natural utterance, 
than to any other note in the scale. This note, which may be 
called the key-note of the particular voice, is somewhere inter- 
mediate between the extremes of elevation and depression of 
which that voice is capable. 

He who regards correctness of pitch should endeavor, as 
early as possible in his practice, to ascertain where this average 
pitch or key-note is. There can be no difficulty in this, if he 
can practically separate his idea of pitch from that of inflec- 
tion, and if he speak naturally and easily to himself. 

If, from any cause, he has been in the habit of speaking in 
too high or too low a pitch of voice, he should form a new 
habit, by cultivating the pitch which to him would be a me- 
dium sound, between the extremes of the compass of his own 
voice He will soon find his ease in speaking much increased, 
and at the same time the melody of his utterance will be 
improved. 

The key-note, or pitch of voice, upon which a composition 
is spoken or read, is more easily determined by a listener in 
an adjoining room, than by one present with the speaker; 



INTONATION. 99 

because the latter will be likely to be puzzled or misled by the 
numerous inflections* made upon syllables. 

The caution necessary to be observed iu regard to pitch is, 
that a medium pitch of voice will be found most suitable for 
the greatest proportion of a discourse. 

If the voice be pitched too high in the commencement of a 
speech, it is probable that in elevating it still more, for the 
expression of emotion, there will either be a breach of the 
legitimate vocal sound, or at best an unevenness which would 
be avoided by starting from a lower pitch. Whereas, if, on 
the other hand, the voice be pitched too low in the beginning, 
there will scarcely be room for making the cadences in a clear 
and audible manner. 

Another objection to a low pitch of voice is, that it has a 
tendency to lull an audience; and in its nature it is lacking in 
the brilliancy and force which belong to a higher one. 

Persons whose voices are not under the discipline of habitual 
daily training or constant use, should try the voice in advance, 
in the place where they are to read a lecture or a speech, in 
order to determine the proper pitch, and thus avoid the neces- 
sity of a change after having commenced before the audience. 

* These inflections do really, for the time being, carry the voice to 
a different pitch strictly speaking; and, therefore, to one unaccus- 
tomed to nice estimates of sound, or measures of elevation, it is not 
easy to determine the pitch of one's voice who is reading so near him 
that all the inflections can produce their effect on the ear. But in an 
adjoining apartment these inflections will not be so audible as to im- 
pair the general wholeness of the tone. 



100 GRAMMAR OF ELOCUTION. 



CHAPTER II. 



CADENCE. 



By cadence is meant that fall or declension of voice which 
takes place at the close of a sentence. In effecting a proper 
and agreeable cadence, the voice should fall gradually; one 
degree or tone in music on each of the last two or three syl- 
lables. The most perfect cadence is considered to be that of 
three syllables. 

" And move the stones of Rome to rise in mutiny." 

This is a common cadence, and very conclusive. 

But the cadence is not always made upon three syllables. 
This depends in part upon the construction of the language 
towards the close, and sometimes upon the circumstance of 
emphatic syllables or unusual accent to be applied near the 
end of the verse. In the following passage the cadence of two 
syllables furnishes a good close. 

" Lives, adores, and reigns 
In cloudless knowledge, purity, and bliss." 



INTONATION. 101 

The cadence in the next line is made wholly upon the last 
syllable. 

"The God of Heaven reigns." 

There is yet another effect or property in language, where 
intonation is concerned, which is regarded by Dr. Rush as a 
very full and conclusive cadence. It is where the final close 
is in a manner anticipated by the falling of the voice upon 
some syllable preceding, and at no very great distance. As in 
the lines 

"Such honors Ilion to her lover paid, 
And peaceful slept, the mighty Hector's shade." 

On the word ' slept/ the voice is dropped through an interval 
about corresponding to a third* This may be considered, by 
some persons, as really no cadence ; but it is easily seen to be 
connected with the close, and seems to give notice of its ap- 
proach. 

It is a practical caution of great value, that the cadence of 
a sentence should never be made so low as to render the last 
syllable inaudible. It was said above that too low a pitch is 
to be shunned, on account of the cadences, where the voice is 
in danger of being lost on the last syllable or syllables. 

* A musical interval consisting of two degrees or notes. 



9* 



102 GRAMMAR OF ELOCUTION. 



CHAPTER III. 

INFLECTION. 

DISCRETE AND CONCRETE INTERVALS — MEASURE OP INFLECTIONS. 

It has been said that the term inflection is used to indicate 
the change of pitch in the voice upon a single syllable; the 
course of the voice, whether upward or downward, considered 
with reference to the musical scale. 

The rising and falling inflections are spoken of by most 
writers as if every reader could distinguish between them ; but 
this is by no means the case. In order that the common ear 
may be able to determine at once the character of inflections, 
they must be made very wide. And this explains or accounts 
for a very common fault in the reading of schoolmasters, viz., 
that their inflections are too wide.* They rely too much upon 
emphasis to express the meaning of language. 

The result of much experience has convinced me that few 
besides critics, and those possessed of a highly discriminating 

* This subject will be noticed more fully under Emphasis. 



INTONATION. 103 

ear, are able to determine at once the course of any inflected 
syllable, unless it be widely inflected. 

Let us enter upon this subject, then, with the statement that 
a syllable must be inflected either upward or downward, or it 
is a monotone, and becomes a musical note. 

A note in music is a discrete sound, (from ' dis' and l cerno', 
to separate ;) it is separate from the other notes of the scale. 
A spoken syllable, being inflected, is a concrete sound, (from 
1 con' and ' cresco/ to grow together ;) it goes into the other 
notes, changes its place on the scale, and the degree of this 
change can only be measured by the intervals of the scale. 
Now, to arrest the sound of a spoken syllable, and to measure 
it, so as to determine the musical interval corresponding to it, 
is not an easy undertaking. If the student shall succeed 
thoroughly to discriminate between a close inflection and a 
wide one, and shall practically apply his knowledge on this 
subject to the reading and speaking of language, it is enough 
to expect of those for whose use chiefly this book is intended. 
And it is maintained by the greater number of teachers that 
no further practical benefit can be derived from the particular 
application of definite musical intervals to inflections of voice 
in reading.* 



* It is not necessary to discuss this question here, but it may be 
remarked that however unprepared may be the educational world to 
avail itself of the revelations of science, this circumstance is no ex- 
cuse for a teacher who shall pretend to ignore that to which he is 
indebted for any of his success in teaching a difficult art ; nor is it 
right to speak obscurely of any theory or fact of which the practical 



104 GRAMMAR OF ELOCUTION. 

It is not expecting too much of the students of this book 
to require that all shall learn to discriminate between an up- 
ward and a downward inflection; and also shall have a clear 
idea of the distinction between a close and a wide intonation. 
The former, a close intonation, is where the voice is inflected 
slightly upon syllables ; aud such inflections are represented 
by the smaller intervals of the musical scale : and the latter, 
a wide inflection, is where the voice is widely inflected upou 
syllables; and these inflections are represented by the greater 
musical intervals. Any exercises for articulation may be used 
to exemplify the subject of inflection. But let the simple 
sound of a vowel element be first used. Most school -boys 
probably know that in asking a simple question the voice is 
usually supposed to be inflected upwards ; aud that iu effect- 
ing a close at a period a downward inflection is used. 

Then let the teacher repeat the vowel sound of long a with 
each inflection, upward and downward, a, a. If the sounds 



use and advantage are clearly demonstrable, although not yet gene- 
rally recognised by the world. No person having a musical ear, and 
any scientific acquaintance with the human voice, can dispute the 
soundness and realitj' of Dr. Hush's theory of inflection ; but it may 
be a question how far it is advisable to carry the strict measurement 
of intervals into a work of this kind. We therefore remark, that 
although some of the musical intervals may be spoken of as applica- 
ble to the expression of certain emotions, or suitable to particular 
words or syllables, yet it is not expected that the indicated intervals 
will be accurately measured, or certainly recognized by every stu- 
dent ; and yet a musician may satisfy himself of their applicability 
with very little trouble. 



INTONATION. 105 

be not widely inflected, and the pupil doubt as to their direc- 
tion or character, then they must be repeated with still wider 
inflections, until their nature shall become familiar. If now 
the pupil find it difficult to determine by the ear the nature 
of inflections not strongly marked, and if the same sylla- 
bles widely inflected shall be easily distinguishable by him, he 
already knows the distinction between a wide and a close into- 
nation ; and this is much, in a practical point of view. We 
then inform him that the one, a wide intonation, is proper and 
necessary for dramatic passages where violent emotion is ex- 
pressed ) and that the other, a close intonation, should 
be applied to simple narrative and all unimpassioned expres- 
sion.* But for the benefit of such as would learn to estimate 
the measure of inflections by referring them to the musical 
scale according to the principles of Dr. Rush, let us refer to 
the definition of concrete and discrete sounds. The difficulty 
of arresting and measuring a concrete interval is greater than 
that of estimating a discrete one, and this is owing to the fact 
that the point where a concrete sound ends is not at first easy 
of detection; whereas, the difference in radical pitch, -\ between 
two syllables (which is the measure of a discrete interval), is 
more easily estimated. For the radical pitch of a short sylla- 
ble is not difficult to determine, as the voice does not dwell 
upon such syllable long enough for inflection ; and not being 
inflected, becomes discrete to a certain extent, and therefore 



* See Emphasis, on page 113. 

f The radical pitch of a syllable is the pitch of the prominent sound 
of that syllable. 



106 GRAMMAR OF LLOCXJTION. 

a musical note, or so much like one as to be easily referred to 
the scale. If we take, for instance, a word composed of two 
short syllables, as ' hiccup,' the interval between the note, or 
radical pitch of the first syllable of this word, and that of the 
second, is easily computed; whether it be spoken as a second, 
a third, or a fifth. Whereas, if it were required to measure 
the inflection on the word Christ in the sentence <Is not this 
the Christ V it might not be so easy to do it. But in order to 
ascertain the interval as nearly as may be, let the word be 
repeated several times with the same inflection ; observe well 
the note of the radical or first part of the utterance, and 
compare it with the last audible sound of the syllable ; the 
musical interval most nearly corresponding to the difference 
between the two, will be the measure of the inflection. 



INTONATION. 107 



CHAPTER IV. 

THE INTERVALS OP THE MUSICAL SCALE. 

THEIR APPLICATION AND SIGNIFICATION — CLOSE INTONATION — WIDE INTONA- 
TION — NOTATION OF INFLECTION — EXAMPLES OF PASSAGES MARKED FOR 
INFLECTION — EXCELLENT ILLUSTRATION FROM SCRIPTURE — MEASURE OF 
INFLECTIONS SOMEWHAT PRECARIOUS — NO UNALTERABLE PRESCRIPTION 
OF INTERVALS POSSIBLE. 

The musical intervals chiefly made use of iu measuring the 
inflections of the voice, are the semitone, the second, the third, 
fourth, fifth, and octave. 

The effect of the semitone is to give a plaintive character 
to the reading. It is therefore suited to pathetic subjects, 
and to the expression of tender emotions. 

The interval of the second is that which is constantly em- 
ployed in the natural inflection of the voice upon all syllables 
in the easy, unimpassioned utterance of language. 

The inflection used naturally in asking a simple question is 
such as would be represented by the interval of a third. 



108 GRAMMAR OF ELOCUTION. 

It a question be asked, or an assertion be made with great 
energy or emphasis, the accented syllable will be inflected so 
as to be measured by a fifth, or even the octave, when the 
strongest emphasis is given. 

With the aid of these directions, and a nicely discriminating 
ear, it is to be hoped the student may succeed in recognizing 
the intervals indicated for the inflection of the syllables in the 
examples which follow; and certainly the general practical 
distinctions above pointed out, between the upward and down- 
ward inflections, and between wide and close intonation, must 
be apparent and intelligible to all.* 

And with this knowledge, those who would not undertake 
to compute the measure of an inflection, may avoid gross 
%ults or errors of intonation ; unless they resist all that is 
natural and easy, and seek to produce some striking and extra- 
ordinary effects ; in which case they will be likely to hit upon 
eccentricities and fall into errors, rather than to keep within 
the bounds of simplicity and good taste. 

In the examples which will be quoted to show the different 
inflections, it is not intended to assume that the readings indi- 
cated are the only ones which can be accepted ; but simply 
that such would be proper and warrantable, and seem to be 
free from objections. In some instances the inflections are 
the same as those marked by Dr. Rush, and some also by other 

* But it should not be inferred from this, that correct inflection 
and smooth and agreeable intonation are so easy in practice, as to be 
acquired without much watchful attention and study under a judicious 
master. 



INTONATION. 109 

masters. Before the student shall attempt to identify the 
intervals attaching to the inflections marked for the quotations 
that follow, he should exercise his voice upon the close inflec- 
tions, upon different pitches, in order to avoid all errors arising 
from pitch. A syllable may be pitched high and inflected 
downwards, or it may be pitched low and inflected upwards. 
A very good exercise where pitch and inflection are both con- 
cerned, may be found in the following verses quoted by Pro- 
fessor Barber and properly inflected by him : — 

No. 1. "Are they Hebrews? So am I. 

2. Are they israelites ? So am I. 

3. Are they the seed of J.6raham ? So am I. 

4. Are they ministers of Christ? I am more." 

In number one the inflected syllable rises both discretely 
and concretely. That is, it rises in pitch and is inflected 
upwards. In number two it falls discretely, and rises con- 
cretely. In number three it falls concretely ; and in number 
four it rises higher than the last discretely, and falls concretely 
with stress. Barber has not given the intervals to be applied 
to these inflections ; but I should not think a better reading 
could be given than would result from the following appropri- 
ation of intervals. 

On number one, the third ; on number two, the fourth; on 
number three, the downward third; on number four, the 
fifth. 

u Back to thy punishment, False fugitive, and to thy speed 
add wings !" The syllables ' back' and ' pun' are instances of 
10 



110 GRAMMAR OF ELOCUTION. 

the rising and falling fifth respectively. So are also the sylla- 
bles ' false' and l fa :' but these last are spoken upon a dif- 
ferent pitch, being lower than the former. "What! looked 
he froummgly?" The rising third. "If I ascend unto Hea- 
ven, thou art there; if I make my bed in Hell, behold, thou 
art there ; if I take the wings of the morning, and dwell in 
the uttermost parts of the sea, even there shall thy hand lead 
me, and thy right hand shall hold me." The first word marked 
in italics in this example may be given with the downward 
third, the next with the fifth, and the climax may be com- 
pleted upon the word there by the intense form of the down- 
ward slide, viz. the octave. 

" And Nathan said unto David, Thou art the man." (Down- 
ward fifth.) 

" I am amazed, yes, my Lords, I am amazed at his Grace's 
speech." (Downward third.) 

The instances thus far given are chiefly those used by Pro- 
fessor Barber, and I have selected them because they seem to 
me to be inflected with judgment. The quotations which he 
has inflected less judiciously, or where I fail to recognize the 
propriety of their inflections, I omit ; not doubting, however, 
that he could read them with striking effect, and display the 
intervals according to his notation. 

The upward and downward inflections have both been illus- 
trated ; but it remains to speak of the circumflex, which is a 
combination of the two upon one syllable, or sometimes a suc- 
cession of the two upon a word of several (two or more) 
syllables. 



INTONATION. 1 1 1 

The circumflex is employed for the purpose of giving a 
very marked accent, and is very expressive of certain emotions, 
as scorn or derision : it is often contemptuous, satirical, and 
insinuates more than is spoken. 

"'Tis base and poor, unworthy of a m&n, 
To forge a scroll so villainous and base, 
And mark it with a noble lady's name." 

The circumflex may be used with effect upon the word 'man' 
in the quotation. 

" How like a fawning publican he looks ! 
I hate hiai, for he is a Christian." 

The circumflex or wave is advantageously exhibited on the 
first syllable of the word ' fawning.' Again, Shylock says, 
" What should I say to you ? Should I not say, hath a dog 
money? Is it possible a cur can lend three thousand ducats?" 
Here the circumflex is used with great effect upon the sylla- 
bles ' dog' and ' cur/ A wide inflection also, as that of the 
fifth, or even an octave, may be made upon the last, without 
extravagance. 

"Oh! methought what pain it was to drown !" (The fall 
of a downward third upon ' drown.') " Has war trod o'er 
them with his foot of fire?" (Upward third.) "Down, 
soothless insulter, I trust not the tale !" (Downward fifth on 
the first syllable ) 

" Better to reign in hell than serve in heaven" 

This is a sentence where the upward and downward infiec- 



112 GRAMMAR OF ELOCUTION. 

tions are used twice. The difference is in the pitch. If the 
same general pitch be preserved throughout the line, then the 
word ' serve' should have the circumflex, which will mark the 
emphasis sufficiently. It would be easy to continue making 
many pages of quotations, and marking the emphasis, and 
indicating by conventional characters the upward and down- 
ward inflections, and even prescribing the measure of the 
inflections by the appropriate intervals, so as to give readings 
which would be free from objections, and indeed perfectly cor- 
rect and elegant. But it would not be possible to say that 
these very passages might not be read effectively and elegantly 
with inflections and intervals very different, and in some cases 
perhaps diametrically opposite to those prescribed.* 

Hence it follows, that the pupil is not to be guided solely 
by the particular taste or fancy of any master in these respects. 
And I can most confidently add, that any pupil who shall have 
thoroughly mastered all the resources hitherto inculcated in 
this work, ought to be competent to inflect and emphasize with 
judgment and taste; and need not fear to differ from any pre- 
scribed inflection which does not accord with his idea of good 
reading. 

If he have not by this time developed a taste of his own, 
it is to be feared that he has been superficial in his study, or 
that he lacks the natural ear which would qualify him to pro- 
duce a harmonious reading of the English language. 

* This is the reason why I have not marked my exercises for read- 
ing with inflection, as many masters have done. I choose to do it 
with a pencil when necessary, and not to bewilder the pupil at all 
with marks where he would not be likely to require any hints. 



INTONATION. US 



CHAPTER V. 

EMPHASIS. 

ERRONEOUS VIEWS OF EMPHASIS — INFLECTION A MEANS OF EMPHASIS — TOO 
FREQUENT EMPHASIS OBJECTIONABLE, AS DESTROYING THE HARMONY OF 
LANGUAGE — A RETURNING MELODY TO BE AVOIDED — DIATONIC MELODY OF 
8PEECH. 

Before dismissing the subject of Inflection, it may be well 
to consider the object of these inflections a little more speci- 
fically, and to present some views on the subject of emphasis, 
for which they are designed. 

Many teachers commence their instructions with the subject 
of emphasis, and finish with the same. And it is moreover 
with them the emphasis of Inflection, and no other kind; 
according to their view nothing else is required but to show 
by the manner of laying stress upon words, even in the sim- 
plest sentence, just what particular shade of meaning the 
author intended to convey. And for this purpose they apply 
force to every significant word in a sentence. 

Now it is true that the legitimate object of emphasis is to 
10* 



114 GRAMMAR CV F.Uii I I'll N. 

bring out the full meaning of language, to expose to view the 
nicest shades of thought which seem to have existed in the 
author's mind. But let it also be remembered that in many 
cases *this is all very apparent without any emphasis at all; 
and that there are also other means of giving emphasis to 
language than by wide inflections. Too frequent vocal stress 
is tedious to the ear, besides defeating the legitimate object of 
emphasis, which should be to distinguish the most important 
words in a sentence, and to make them prominent. 

Those who use this frequent and very marked emphasis, 
are apt to destroy the harmonious effect of reading by the 
reiteration of the same inflection and the return of the same 
melody. Something must be left to the intrinsic value of 
language, the inherent force that it has. Such a language as 
ours, so fertile in words expressive of almost every shade of 
meaning, must be partly relied upon in its simple utterance ; 
and its melody and rhythm are both materially injured by the 
hammering process of giving stress to every other syllable in 
a sentence. The beauty and best effect of language is sadly 
marred by a certain air of conceit imparted to a reading when 
the even flow of utterance is too much interrupted by marked 
inflections.* In the exciting scenes of tragedy, where the 



* The giving marked emphasis to every word in a sentence which 
will possibly admit it, is inexcusable in a language like ours. Some 
of the Eastern dialects require more inflection than our tongue, be- 
cause they contain words which are variously inflected, and have a 
different signification for each inflection. I have heard two learned 
divines gravely debating the question whether the negative in the 



INTONATION. 115 

emotions are supposed to be varied, and where the language is 
violent, there is need of strong and varied emphasis. This is 
to be produced by wide inflections, by vast contrasts as to loud- 
ness or intensity of voice, by protracted pauses, by change of 
rate (or rapidity), by abruptness, quantity, by aspiration, 
altered pitch, &c. Now, although for correctness and effect in 
the utterance of such passages, much skill and judgment are 
required, yet I hesitate not to assert, that the perfection of 
reading in the plain or simple melody, called by Dr. Rush the 
diatonic melody OF speech, is a still more rare accomplish- 
ment than that of producing effect upon high-wrought passages 
of tragedy. And I have found it easier to inculcate a good 
rendering of strongly-marked passages, than to form those 
habits of correctness in the utterance of plain and unimpas- 
sioned speech which display at once the beauty of language 
and the art of judicious reading. To read in such a manner 
as to be able to dispense with extravagant inflection or rare 
efforts of emphasis, supposes perfect command of the voice, 
a nice ear, and cultivated taste ; but without these, the reader 
who shall hope to produce effect by means of skill in contrast 
and emphasis, will be in imminent danger of becoming a 
ranter, and his simple melody will most assuredly be a failure. 



Decalogue should be emphasized or not, as "Thou shalt not bear 
false witness," and "Thou shalt do no murder." These are puerili- 
ties beneath notice when the question relates to the prominence of 
the sentiment. If such questions do come up, they should be de- 
cided only on the- ground of harmony. They belong to considera- 
tions of rhythm ; and will be amply treated under the head of Measure. 



116 GRAMMAR OF ELOCUTION. 



CHAPTER VI. 

TRANSITION OF VOICE. 

PARENTHESIS — PASSAGE PROM "RICHARD II." MARKED FOR INFLECTION. 

By transition merely change of pitch is meant, and this is 
often of great utility both in reading and speaking. Any 
tolerably good reader will perceive the propriety of entering 
upon a new paragraph with an altered pitch of voice. Or, 
where the train of thought is interrupted \>y a new idea, the 
speaker would most naturally give some indication of such 
change by lowering or perhaps elevating the voice after a 
slight pause at the end of a sentence. • Parenthetical clauses 
are always to be uttered in an undertone, and frequently 
with increased rapidity; and on the stage, matter which 
is to be heard by the audience, but not intended for the car 
of parties in the dialogue, may often be most advantageously 
spoken in a pitch much lower than the general key-note ; 
and from this circumstance requires to be uttered with great 
force, involving much of the aspirated or whispered tone; 
otherwise it might be lost to the audience from the low pitch 



INTONATION. 



117 



which it requires. The following passage will furnish a good 
example for transition. It is from " Richard II.," where the 
Duchess is describing the entrance of Richard into London : — 

" Men's eyes 
Did scowl on Richard ; no man cried ' God save him/ 
No joyful tongue gave him his welcome home; 
But dust was thrown upon his sacred head ; 
"Which with such gentle sorrow he shook off — 
His face still combating with tears and smiles — 
The badges of his grief and patience — 
That had not God, for some strong purpose, steeVd 
The hearts of men, they must perforce have melted, 
And barbarism itself have pitied him." 

This passage admits of considerable variety of pitch. On 
the word t scowl' the downward third may be effectively ap- 
plied with a well marked vanish.* The four lines ending 
with the words ' shook off' should be uttered with much 
evenness and a constant play of the semitone ; the next two 
lines in a pitch rather lower, being parenthetical j ' That had 
not God/ &c, as far as the word ' steel'd/ should be read at 
an increased rate of voice, and in pitch still lower ; the word 
< steel'd' takes a rise of note, the word ' melted,' a down- 
ward inflection ; the syllable ' self ' in the last line has a high 
pitch with downward inflection, and is followed by a slight sus- 
pension of voice before the cadence. 

* See the analysis of syllables, pages 31 and 46. 



118 GRAMMAR OF ELOCUTION, 



CHAPTER VII. 

THE STAGE WHISPER. 

QUOTATIONS FROM "TWELFTH NIGHT," FOR PRACTICE UPON STAGE WHISPER. 

A specimen of the aside talk above spoken of, we may take 
from the " Twelfth Night," and from the scene where Malvolio 
supposes himself beloved by the Countess Olivia, and thinks 
aloud on the stage; Sir Toby, Sir Andrew, and Fabian being 
concealed in a box tree. 

Malvolio. 'Tis but fortune; all is fortune. Maria ouce 
told me, she did affect me : and I have heard herself come 
thus near, that, should she fancy, it should be one of my com- 
plexion. Besides, she uses me with a more exalted respect, 
than anyone else that follows her. What should I think on't? 
Sir Toby (aside). Here's an overweening rogue /* 
Fabian. peace! Contemplation makes a rare turkey- 
cock of him; how he jets under his advanced plumes ! 

* All that is printed in italics is aside talk, not supposed to be heard 
by Malvolio. 



■INTONATION. 



119 



Sir Andrew. 'Slight! I could so beat the rogue: — 

Slit T. Peace, I say. 

Malvolio. To be Count Malvolio ;— 

Sir T. Ah, rogue ! 

Sir Andrew. Pistol him, pistol him. 

Sir T. Peace, peace ! 

Malvolio. There is example for't; the lady of the 
strachy married the yeoman of the wardrobe. 

Sir Andrew. Fie on him, Jezebel! 

Fabian. 0, peace! now he's deeply in; look, how ima> 
gination blows him. 

Malvolio. Having been three months married to her, 
sitting in my state, — 

Sir T. 0, for a stonebow, to hit him in the eye I 

Malvolio. Calling my officers about me, in my branched 
velvet gown ; having come from a day-bed, where I left Olivia 
sleeping. 

Sir T. Fire and brimstone! 

Fabian. 0, peace, peace. 

Malvolio. And then to have the humor of state : and after 
a demure travel of regard — telling them, I know my place, as 
I would they should do theirs, — to ask for my kinsman Toby : 

Sir T. Bolts and shackles ! 

Fabian. 0, peace, peace, peace! now, now. 

Malvolio. Seven of my people, with an obedient start, 
make out for him : I frown the while ; and, perchance, wind 
up my watch, or play with some rich jewel. Toby approaches ; 
court'sies there to me : 

Sir T. Shall this fellow live? 



120 GRAMMAR OF ELOCUTION. 

Fabian. Though our silence be drawn from us with cars, 
yet peace. 

Malvolio. I extend my hand to him thus, quenching my 
familiar smile with an austere regard of control : &c. 

The whole dialogue, with the exception of Malvolio's part, 
is to be spoken somewhat lower than his soliloquy, and will 
therefore often require an aspirated utterance like a forced 
whisper, in order to render it audible. 

Many other good examples might easily be added ; but the 
student can select them for himself from the plays of Shak- 
speare or other dramatists. The one here given will serve for 
practice, if any one should desire to exercise his voice upon the 
stage whisper, as it is sometimes called. 



PART III. 

MEASURE OF SPEECH. 



CHAPTER I. 

PRELIMINARY CONSIDERATIONS INTRODUCTORY TO THE 
SUBJECT OF MEASURE. 

POWER OF APPRECIATING RHYTHM — MONOSYLLABIC PROPERTY OF THE ENG- 
LISH LANGUAGE — CLASSICAL TERMS — BEAUTY — THE ANGLO-SAXON ELE- 
MENT — STRENGTH — REQUISITES FOR A MODEL STYLE OF COMPOSITION — 
PERTINENT QUOTATION FROM " MACBETH." 

Before entering upon the " modus operandi" in inculcating 
a knowledge of Measure, I must advert to the vast difference 
which seems to exist in different persons as to the power of 
appreciating harmonious sentences. 

It would furnish an interesting subject for philosophical 
inquiry, to ascertain how far such difference in appreciating 
sound, or in enjoying rhythm, depends upon physical organiza- 
tion, and how far upon culture. But it is perfectly well known 
that many persons supposed to have no ear for music, are yet 
able to distinguish between a harmonious arrangement of words 
U (121) 



122 GRAMMAR OF ELOCUTION. 

and syllables, and a style of writing where the laws of measure 
and rhythmical arrangement are constantly violated. 

The question has been asked by unmusical persons, after 
listening to a speaker whose sentences are harmonious, and 
periods symmetrical and well-balanced, whether the speaker 
was reciting poetry or reading prose. This proves that the 
querist had an ear to perceive rhythmical effect. 

If there be persons whose ear could detect no such property 
in language, it is probable that the study of measure would be 
unprofitable to them ; and the beauties of rhythm might be to 
such, as a sealed fountain. When we commence an investiga- 
tion of the philosophy of Measure, we shall be referred to 
considerations of the analysis of language, and the nature of 
syllables; which are, as we have already learned, either 
accented or unaccented. We shall find that accented sylla- 
bles are so dispersed throughout language as to constitute 
the first members of measures, of which measures the inter- 
vening light or unaccented syllables between the heavy ones, 
are the second members. That every accented syllable requires 
a new impulse or effort of voice in its utterance. Now, if a 
considerable number of these heavy syllables in succession, be 
followed each by one light syllable, or by two light syllables, 
it is evident we shall have an uniformity in measure which 
must have its effect upon the ear. As in the following line, 

" Mortal | Nature | lifts her | changeful | form/' 

This, to be sure, is verse. But the same movement of the 
rhythm may occur in prose composition, as in the following : 



MEASURE OF SPEECH. 123 

" Where the | bones of | forty | thousand | persons j bleach- 
ed the | ground." 

Two members in each measure ; the first member a heavy, 
and the other a light syllable. 

Observe the rhythmic property of the following sentence : 

" Seizing the | dangerous | weapon that | lay on the | floor 
at the | time." 

This is the movement of three syllables, and gives us a suc- 
cession of dactyles. 

But, suppose these intervening light or unaccented syllables 
to be wanting, and merely a succession of monosyllables to 
occur, each of course requiring accent; the voice in this case 
is necessarily suspended after each, a new impetus being re- 
quired for each accented syllable, thus^- 

Man, | beast, | bird, | fish, and | every | creeping | thing. 

The first three measures of this line consist of accented 
monosyllables, and each is followed by a slight suspension of 
voice ; the time which is given to the suspension in these 
measures being filled up in the following measures by the un- 
accented syllables respectively in each, and as much time being 
occupied by one measure as by another. 

The rhythmic movement of such a line suggests a very differ- 
ent feature in our language from the regular and flowing nature 
of the dactyles in the preceding example. 

The monosyllabic character of the English language is due 
to the Anglo-Saxon element, and it is mainly this which gives 



124 GRAMMAR OF ELOCUTION'. 

it strength ; while the classical terms, or words derived from 
the Greek and Latin, are usually polysyllables, and constitute 
the harmonious, flowing character of sentences. 

Observe the contrast of the two forms of expression which 
follow ; of which the meaning is identical : — 

" The thing has not life enough to keep it sweet." 
" The creature possesseth not vitality sufficient to preserve 
it from putrefaction." 

The Anglo-Saxon element characterizes the first ; and the 
second abounds in classical terms. 

An able modern writer, in defending the principle or dis- 
covery which claims to have given rise to a new school of 
medicine, vindicates the claims of scientific progress in lan- 
guage like the following : — 

" Shall the researches of studious men never lead to useful 
results ? Shall science never conduct us to real and practical 
benefit? find no new law of cure, or ratify any already pre- 
ferring its claim ?' 

Observe the very marked and striking difference in the 
structure of the last two clauses in this paragraph ; the former 
of them being wholly composed of monosyllables, while the 
latter, on the contrary, consists of an unbroken succession of 
dactyles ; each measure being made up of a long and two short 
syllables, or rather of one heavy and two light ones, thus — 

find | no | new | law of | cure, 
or | ratify | any al- | ready pre- | ferring its | claim. 



MEASURE OF SPEECH. 125 

Now, a style of composition worthy to be regarded as a 
model, would be one in which the properties of strength and 
beauty should be judiciously blended. 

The former would be found to have its origin chiefly in the 
Anglo-Saxon element; while the latter characteristic, its 
smooth and flowing quality, would be due to the presence of 
classical terms, rightly so called. 

Witness the prevalence of the Anglo-Saxon element in the 
following passage from Macbeth : — 

" That is a step, 
On which I must fall down, or else o'erleap, 
For in my way it lies. Stars, hide your fires ! 
Let not light see my black and deep desires : 
The eye wink at the hand ! yet let that be, 
Which the eye fears, when it is done, to see." 

In all this most effective passage, only two words which are 
not monosyllables ; and only one Latin word — l desires/ 



J] 



126 GRAMMAR OF ELOCUTION. 



CHAPTER II. 

PHILOSOPHICAL INVESTIGATION OP MEASURE. 

DOUBLE FUNCTION OP THE LARYNX — NECESSITY OF THE APPORTIONMENT 
EXPLAINED — TWO ACCENTED SYLLABLES CANNOT BE UTTERED BY A SINGLE 
EFFORT OF VOICE — ONE ACCENTED AND FOUR UNACCENTED SYLLABLES 
MAY BE UTTERED BY A SINGLE EFFORT OF VOICE — REQUISITES TO CON- 
STITUTE A MEASURE — A SINGLE SYLLABLE MAY CONSTITUTE A MEASURE — 
SYLLABLES OF INDEFINITE QUANTITY — DISTINCTION BETWEEN ACCENTED 
SYLLABLES — NOTATION OF MEASURE, OR SCORING OF LANGUAGE — BEATING 
TIME — DIFFICULTY OF BREAKING UP THE ASSOCIATION — RESOURCE TO OB- 
VIATE THIS DIFFICULTY — REST IN THE SECOND MEMBER OF A MEASURE NOT 
DIFFICULT TO OBSERVE — REST IN THE FIRST MEMBER DIFFICULT — REASON 
EXPLAINED — DETAILED ANALYSIS OF MEASURE ILLUSTRATED BY PASSAGE 
FROM " YOUNG." 

The organ most immediately concerned in speech is called 
the Larynx. It has a two-fold function to perform : first, that 
of an air-tube, essential to respiration ; and, secondly, it pro- 
duces the sound, essential to speech. The inspiration of air 
and the production of speech are incompatible, cannot be per- 
formed at the same moment. Therefore speech must be fre- 



MEASURE OF SPEECH. 127 

quently interrupted for the purposes of respiration. Language 
then must be uttered in portions and broken up into little 
groups of syllables, each of which groups will be sufficient for 
one impulse, or effort of voice. We will suppose now that the 
first part of each effort is more vigorous, and calculated to pro- 
duce more sound than the last part. 

On observing the structure of our language, we perceive 
that it is made up of two kinds of syllables ; those which are 
heavy and those which are light, called accented and unac- 
cented syllables. Heavy or accented syllables are so scattered 
throughout language, or so disposed in a paragraph, as to be 
followed usually by one or more light syllables, which may be 
uttered by the same impulse ; a single accented syllable may be 
uttered alone by one impulse, or a single accented with several 
unaccented syllables may be uttered by one impulse ; but when 
two heavy or accented syllables follow one another, each of 
them will require a separate effort of voice to be properly 
sounded. Let us endeavor, for instance, to pronounce the 
syllable ' pomp' twice, under accent; and we shall perceive an 
hiatus on separating the lips after the first utterance of this 
syllable. But if we add to the syllable ' pomp' the unaccented 
one * ous,' we fiud no difficulty in pronouncing the word 
' pompous' with a single impulse ; so we may add another syl- 
lable, as ' ly,' and the word ' pompously' is uttered with great 
facility by a single impulse. The word ' spirit,' consisting of 
two syllables, a long and a short, requires one impulse, and if 
we add the syllable ' ed,' the same force only is necessary, for 
it is as easy to say ' spirited' as ' spirit.' So with the word 
'spiritual/ of four syllables, and even 'spiritually/ of five. 



128 GRAMMAR OF ELOCUTION. 

We dow have some data for the adjustment of our measure. 
And we say that a measure consists of two parts or members; 
one, a heavy or accented portion of syllabic sound, and the 
other a light or unaccented portion of syllabic sound ; both 
the members to be uttered with a single impulse, or effort of 
voice. 

A perfect measure then consists in one syllable, two, three, 
four, or sometimes even five syllables; when there are five 
syllables in a measure, the first or accented syllable constitute - 
the first member, and the remaining four syllables the second 
member. 

A single syllable may constitute a measure ; for if it be ex- 
tended in quantity, the first portion may be under accent or 
perceptibly heavy, while the latter portion will be light. Each 
of the syllables ' pail/ i orb/ ' day/ will make a perfect mea- 
sure ; these syllables being susceptible of pronunciation as 
extended as that of the whole word ' temporary/ (which would 
constitute a measure.) 

Syllables of indefinite quantity can be so pronounced as to 
constitute a measure, or they may be so pronounced as not to 
fill a measure. 

We now revert to the distinction pointed out on page SO, 
between accented syllables; they being sometimes highly sus- 
ceptible of quantity, and therefore called long accented sylla- 
bles, and sometimes not susceptible of quantity, and therefore 
called short. 

We have said a single syllable may constitute a measure ; 
but if a measure contain but one syllable, and that a short 
accented one, this short syllable can only fill the first, part of 



MEASURE OF SPEECH. 129 

the measure, and constitute its first member. The second 
member must in this case be represented by a rest, to indicate 
a suspension of voice immediately after the short heavy sylla- 
ble. 

Let a stand for a heavy accented syllable, and .-. for a 
light or unaccented one. a will then represent the first member 
of a measure, and one or more of these .-. .•. the second mem- 
ber. Let this mark *1 represent a suspension of voice, or a 
rest. And let it be substituted for the wanting member of 
any measure : thus, where the first member is wanting, the 
measure will commence with M, and when the last or second 
member is wanting the *] will appear in its place. As in the 
line — 

When | **] in the [ course of | human e- | vents. 

A .'. .'• ••• A .'• A ••• ••• A 

In this example the syllable f when' is made to occupy the 
whole time of a measure ; the voice is then suspended for a 
very slight pause, after which the unaccented syllables ' in 
the' are pronounced wholly without accent, and the remain- 
der of the sentence follows immediately, without any further 
interruption. Each measure is to occupy the same space of 
time as nearly as may be j and the time is to be measured by 
beating with the hand once down and up, in each measure. 
The hand is to move constantly while reading by measure ; 
but the voice is to cease during the time of a rest or '"j, whether 
it occur on the first member or on the second member of a mea- 
sure. If the rest occur upon the first member of a measure, 
the hand falls during silence; as is the case in the second 



130 GRAMMAR OF ELOCUTION. 

measure of the above example. If the rest represent the 
second member, the hand rises during silence. 

Now, owing to the difficulty which every beginner (par- 
ticularly when unacquainted with reading music) will find in 
breaking the association between the two actions, viz., that 
of the hand and that of the voice, I recommend that the ac- 
tion of both be continued for awhile, the voice pronouncing 
the word f down' for every rest which occurs in the first mem- 
ber of a measure, and the word ' up' wherever a **] appears 
in the second member. By this practice the pupil will soon 
find it easy to read by measure, and may afterwards observe 
silence in the places of rests, discontinuing the words ' down' 
and 'up.' 

In the commencement of this practice the student will find 
no difiiculty where the rests are but few, or where they occur 
only on the second member of a measure, for there they cause no 
interruption to the movement of the voice, and merely denote 
that no sound need be made while the hand is rising; but 
when a rest occurs at the beginning of a measure, it checks 
and forbids the positive effort for an accented syllable, and to 
beat with the hand and repress the voice in such place is at 
first not easily done. Thus, 

li **] The | hum of | either | army | stilly | sounds," 

A ••• A ••• A ••• A ••• A .-. A .*. 

is easily read, because there is no interruption either to the 
hand or voice. They both keep moving. Again — 
u High on a | throne of | royal | state.' ' 

A" .'. ••• A ••• A .'. A .'• 

This reads perfectly easy, and without breaking. So in 
the line — 



MEASURE OF SPEECH. 131 

" Rocks,**] | caves,**] | lakes,**] | fens,**] | bogs,**] | dens, and ] 
A A -•■ A ••• A ••• A ••• A 

shades of | death." | 

A ••• A ••• 

Where the movement is regular, and no rest occurs upon 

ff the heavy or accented member of a measure, no one will find 

difficulty in reading and beating. Now, if we replace these 

rests by the unaccented syllable ' and/ the measure will be 

unaltered, and it will read with the same ease. As, 

Rocks and | caves and | lakes and | fens and | bogs and | 

A ••• A /. A ••• A .'. A 

dens and | shades of death. | 

A ••• A /. A ••• 

The unaccented syllable ' and' occupying no more time 
than was allowed for the rest in each measure. But it will 
not be found so easy to read the following lines, because the 
first member is wanting to several measures. 

**] Be | wise to- | day, | **] 'tis | madness | **] to de- | fer ;**| I '-J **| 

A .-. A ••• A .-• A •'. A ••• A .'. A .*. 

Next | day | **] the | fatal | precedent j *-J will | plead ; | *\ *\ | 

A ••• A ••• A ••• A ••• A /. ■•• A .'• A .'. A ••• 

Thus I on, I ^ till | wisdom | **| is | pushed | out of | life. | *| *\ 

A ■•■ A .'. A ••• A .'. A .'. A ••• A -•■ A-*- 

*| Pro- 1 crasti- 1 nation | **] is the j thief of | time.**! I **H I **H I 

A .-. A ••• A .". A ••• ••• A ••• A .". A ••• A .-. 

The syllables ' wise/ day/ ' mad/ ' fer/ being those which 
require accent, they are placed each at the beginning of a 
measure ; the syllables which precede them, then, are unac- 
cented, and therefore constitute second members of measures. 
There being no syllable preceding ' Be' (which is unaccented) 
we use a **J to represent the wanting member; and, haviug 



132 GRAMMAR OF ELOCUTION. 

commenced beating in silence, we pronounce the syllable ' Be' 
very lightly while raising the hand, to fall on the syllable 
' wise.' The hand rises and falls on ' day/ then falls in silence 
and rises on ''tis,' falls on 'mad' and rises on <ness/ &c. At 
the end of the first line we pause long enough for the hand 
to rise and fall once, that is, the time of a measure. And 
where there are several successive measures filled with rests, 
we continue to beat in silence, saying, " Down, up, down, up, 
down, up," until the empty bars are exhausted. 



MEASURE OF SPEECH. 133 



CHAPTER III. 

OBJECTIONS TO THE PRACTICE OF READING SCORED EXER- 
CISES. 

OBJECTION ANSWERED — DIRECTIONS FOR ACQUIRING THE ART OF READING 
SCORED EXERCISES — HOW THE SENSE IS AFFECTED BY NEGLECT OF THE 
PRINCIPLES OF MEASURE. 

If any one should object to the mode of scoring here indi- 
cated, on account of the stiff and mechanical effect produced 
in the reading of a beginner, we have this answer for him : — 

That the dividing lines and rests are not intended to break 
up the natural and proper flow of language, and do not necessa- 
rily cause the uniformity complained of, or impose shackles 
upon the accomplished reader. They are marks made to show 
where the accented syllables come, and to indicate the reading 
which will be adopted by a correct reader ; and such a scoring 
as the above, or a scoring similar to it in the essentials, will 
be authorized by the reading of any one sufficiently correct or 
elegant in his utterance to warrant any nice or philosophical 
criticism at all. It is not expected of any beginner in the 
art of reading, that he will be able to observe the rules of this 
12 



134 GRAMMAR OF ELOCUTION. 

scoring at once, so as to give a harmonious reading accordingly. 
But it is most confidently asserted that any pupil of ordinary 
intelligence, who shall have understood and practised the direc- 
tions and teachings of this book, up to this place; who shall 
have learned how to articulate and finish his syllables, to dis- 
criminate their character and construction, to employ quantify, 
use accent, emphasis, and pauses with tolerable judgment, will 
find no difficulty whatever in reconciling such a scoring with 
his ideas of correctness ; and it may be affirmed with equal 
confidence that a short practice of reading with especial 
reference to such scoring, will aid him greatly in confirming 
habits of correctness and grace, so as to be able very shortly 
to score for himself or others. 

It is not surprising that the uninitiated should be puzzled 
to produce a tolerable reading, according to the scoring they 
will find in such books as this ; and this is proof most conclu- 
sive that they fail in those very traits of excellence which 
warrant such scoring, if indeed their reading will authorize 
the application of anything like a rule or a principle. But 
let a person acquainted with the principles here involved, and 
having a practical knowledge of pronunciation, take up a book 
and read according to such scoring, and I am greatly mistaken 
if stiffness or shackle be observed in his manner ; or anything 
less praiseworthy than an elegant and chaste style of delivery. 

To those who choose to test their power of commanding 
this art, viz., that of reading according to the scoring as they 
find it; the cautions which follow may be of use. First, the 
■perpendicular lines which mark the measures are never to 
impede or retard the progress of the voice in the slightest 



MEASURE OF SPEECH. 135 

degree; they frequently divide the syllables of a word, and 
never indicate a pause or suspension ; breath is to be taken at 
a rest. 

Secondly, although the voice is to be suspended at a rest, 
yet the suspension may often be exceedingly sJiort. It is by 
no means implied that in all cases the reader is to dwell on a 
rest exactly one-half the time of a measure,* only that the 
voice is to be suspended j and 

Thirdly, no preponderating accent must be given to any 
syllable unless it stand first in the measure, or occupy the first 
part of the measure. 

I next proceed to examine and justify the scoring of the 
four lines we have quoted above 3 and to show reasons for it, 
in the nature of our language, and in the requirements of 
emphasis and just effect. The rest before the first syllable 
merely shows that we commence with an unaccented syllable 
or word. In very many instances, if we commence a piece of 
composition with an accent upon the first word, when the word 
should be pronounced without accent, the whole meaning of 
the first sentence may be materially changed. Witness the 
following sentences, each commencing with the word ' That' : 

" That man is, in his infancy, the most helpless of animals, 
has been affirmed by many philosophers." 

" That man is wise, who knows when to be silent." 

Now the reader who is to read a sentence like either of 
these, must first examine the whole construction of it, before 

* The alternative is, that the beat must sometimes be accelerated. 



136 GRAMMAR OF ELOCUTION. 

he can know whether the first syllable is to be read with accent 
or without it. Otherwise he will be likely to be compelled 
to return again and recommence, after having advanced far 
enough to perceive the meaning intended .* 

In the first of the sentences, ' man' is clearly to be read 
with accent ; and of course the word ' that' which precedes it, 
is the unaccented member of a preceding measure ; of which 
measure the accented member is wanting. The place of this 
wanting member must then be supplied with a **|, indicating a 
downward beat, and the syllable ' that' is uttered as the hand 
rises. 

In the other sentence it is equally clear, by examining the 
meaning, that the word ' That' with which it commences, 
must be read with accent in order to make sense. The neces- 
sary scoring then becomes obvious. The first sentence would 
be commenced as follows : — 

*\ That | man **] | is, in his | infancy, | 

A .-. A .-. A .-. ••• A ••• ••• 

And the second, 

That ** | man is | wise | ^ who | knows, | &c. 
A .-. A a A--. A ••• A ••• 

* That is, such an examination is necessary where no scoring is 
marked ; but the moment we commence reading scored language, the 
correct reading is at once apparent, and we cannot miss the significa- 
tion of the language. 



MEASURE OF SPEECH. 137 



CHAPTER IV. 

ANALYSIS OF QUOTATION FROM " YOUNG" CONTINUED. 

ADVANTAGES TO BE DERIVED FROM THE PRACTICE OP READING SCORED LAN- 
GUAGE — DANGERS INCIDENT TO MECHANICAL AIDS — SUCH PRACTICE TO BE 
USED UNDER LIMITATIONS — NO PRESCRIBED SCORING CAN INDICATE THE 
ONLY POSSIBLE CORRECT READING — THE PRINCIPLES NOT THE LESS BINDING 
AND INCONTROVERTIBLE. 

We now return to our four lines, " Be wise to-day," &c. 
Those who know anything of quantity will perceive that the 
word i day' in this connection will safely admit of sufficient pro- 
longation in pronouncing it, to occupy the whole space of a 
measure, a downward and an upward beat. The next syllable 
being unaccented, it cannot commence a measure ; we there- 
fore find a rest to commence with. 

The second syllable of the word ' madness/ in order to be 

thoroughly finished, requires to be followed by a suspension 

of voice (however short) ; besides which, it is a word to be 

emphasized, and such pause is required for this purpose like- 

12* 



138 GRAMMAR 01 roN. 

wise.* The next two syllables are necessarily unaccented, 
and therefore constitute the second member of the mens 
which was commenced by a rest With regard to the word 
' day,' the same reasoning will apply to it here which we used 
for it in the line above. Its situation is the same. Tlu 
following the word ' precedent' is not so peremptorily demanded 
as the former rests have been ; and many readers might choose 
to have that immediately following the syllable ' will,' as the 
nature of this syllable is such as to admit of easy and correct 
articulation, without a pause or an interruption before it. If 
this reading be preferred, the syllable may be included in this 
same measure with the word ■ precedent, 3 and still the scoring 
will be very good : — 

*j The ] fatal | precedent will | plead. I 
\ .-. A ••• \ ••• •■• ••• \ ■■• 

These four syllables not being too many for a measure. * plead' 
will then immediately follow ; and if the length of such a 
syllable seem insufficient to nil a measure by itself alone, a 
rest may follow it in the same measure, or may be understood, 
as in the first two measures of the next line ; each of the syl- 
lables * thus' and • on' may be followed by a rest or not : it 
comes to the same thing practically as regards measure. The 
reader is at liberty to prolong the sound of ' s' on the former 
qIl these words, or that of ' n' on the latter, so as to fill the 
whole time of a measure ; or he may observe practically a rest 
after either or both of them. A rest is usually placed in the 



* The same remark applies to the words ■ wisdom' aud ■ procrasti- 
nation: 7 they are likewise rendered emphatic by the same means. 



MEASURE OF SPEECH. 139 

same measure after a very short accented syllable, where no 
reader would think of attempting to give quantity -, as in the 
third line the word i life' is followed by a rest. 

But in practice, the omission of it can lead to no error ; so 
that in scoring, no one who has been accustomed to reading 
the exercises for a few days, will require the rests to be written 
down, when they relate to the unaccented member of a measure. 
For such rests only indicate the absence of quantity on the 
accented syllables; and the student knows already where 
quantity is practicable, and generally where it is desirable. 

It has occurred to me that if there were no other benefit to 
be derived from the system of scoring than that of exhibiting 
the gross faults prevalent in the reading of poetry, it would 
still be worth every one's time to acquire the little knowledge 
necessary for following the scoring marked out for the purpose 
of breaking up the sing-song uniformity suggested by the 
regular rhythm of measured verses. Suppose any one should 
find six or eight successive lines constructed precisely like the 
following : 

" Mortal | nature | lifts her | changeful | form," 

where the measures consist for the most part of two syllables 
alternating heavy, light ; heavy, light ; without interruption or 
variety ; what can be more lulling in its effect ? Or with the 
triple measure of dactyles : 

Came to the | beach a poor | exile of | Erin. 

This reads still worse. But a judicious reader at once per- 
ceives that the word ' beach,' for instance, both for the purpose 



140 GRAMMAR OF ELOCUTION. 

of thoroughly finishing the word, and because it is an impor- 
tant word in the sentence, requiring a shade of emphasis, 
should be followed by a pause or a slight suspension. He sees 
also that the word ' poor' is a word to be emphasized, and is 
highly susceptible of quantity; he therefore places it at the 
beginning of a measure, extends the quantity throughout that 
measure, and produces at once a very different reading : — 

**| There | came to the | beach | *1 a | poor | exile of | Erin. 

A .'• A .'. ••• A /. A .". A .'. A .*. .'. A .'. 

Take also the next line. What can be worse than the reading 
at first suggested to a beginner by the number of syllables ? 

The | dew on his | thin robe was | heavy and | chill. 

A reader who perceives the disastrous tendency of such 
verses to provoke a monotonous jingle, instead of favoring a 
simple and expressive melody of language, will endeavor to 
read it so as to show the meaning, and more like prose. 



**| The | dew | **| on his | thin | robe | ^j was | heavy and | chill, 

A ••• A .*. A ■•• ••• A ••• A .'• A ••• A ••• •'. A ••• 



giving to the words ' thin' and ' robe' sufficient quantity to 
make each of them occupy a measure ; thus they have due 
emphasis, and the whole harmony of the verse is improved at 
the same time. 

The student is now left to the practice of scored exercises. 
Different opinions will be arrived at, I am quite confident, by 
persons differing in capacity for harmonious reading. Various 



MEASURE OF SPEECH. 141 

estimates will be made of the expediency of adopting such a 
mode. While some readers will regard it as a most invaluable 
acquisition, and will exclaim with Archimedes ' Eureka V be- 
fore they have practised an hour ; by others it will be esteemed 
an impossibility to acquire the art of reading smoothly in 
accordance with these principles. To those who find great 
difficulty in conforming to the scoring, I can only recommend 
the practice before mentioned of using the words ' down/ ' up/ 
for rests in first and second members of measure ; the words 
must of course be spoken very rapidly, or the language of the 
author very slowly ; for in speaking these words, the very time 
which should legitimately be used to inhale is nearly exhausted. 
So that this sort of reading will soon fatigue ; thus demonstra- 
ting the absolute necessity of the rests or pauses. And the 
reader will soon be able to observe the rests in silence. 

To those who, from their naturally correct ear and good 
taste, have a ready facility at reading scored language, I would 
recommend that they only practice until they shall have ac- 
quired sufficient skill in the use of extended quantity and a 
fine vanish to their syllables preceding rests, to enable them to 
produce an elegant reading of the passages which at first seem 
most difficult to reconcile to the scoring. For they may be 
assured that such passages may be read effectively according 
to the prescribed marks ; and those failing to accomplish this, 
will undoubtedly fail for the want of a thorough command over 
some of the resources taught in this book. 

Nevertheless, it is contrary to the spirit and the principles 
of my teaching, to assume that any prescribed reading is the 



142 GRAMMAR OF ELOCUTION. 

only one which may be consistent with good taste, or well 
adapted to express the sentiment with correctness.* 

The author has found passages scored by masters of un- 
doubted correctness and skill, the scoring of which he has not 
been able to reconcile with his own ideas of propriety ; but he 
is not therefore prepared to say that the reading indicated is 
impracticable or incorrect 

What has been aimed at, in the selections scored for mea- 
sure, is to indicate such a reading as shall be consistent with 
taste and propriety, and perfectly free from objections; and it 
will be recollected that a similar remark was made in Chapter 
IV. of the Second Part, when speaking of Intonation, and the 
intervals prescribed for the measure of certain inflections. 

*As this admission may possibly have the effect with some minds 
to invalidate the claims of this method to utility, I am of the opinion 
that these claims are rather strengthened and confirmed by such a 
concession. For, if the principle were not a correct one in practice, it 
might be shown that it could not be demonstrated upon language 
written without reference to such an apportionment of syllables ; 
whereas it is clearly shown in the scoring of the various styles of 
composition annexed as reading lessons, that the principle applies. 
And what is still more illustrative of its practical utility, it will be 
observed that where the style of a composition is most harmonious 
and beautiful, there the scoring is of most easy application, and the 
reading according to it most readily performed. 



EXERCISES 



CATHARINA. 



ADDRESSED TO MISS STAPLETON. 



**j She I came,*i | *[ she is | gone,"*] | **| we have | met, 

A ••• A ••• A .'. ••• A .-■ A .-■ ••■ A ' 

*"| And | meet, perhaps, | never a- | gain ;**] | 

A ••• A ••• ••• A ••• ••• A •'■ 

~|The | sun of | that~| | moment | *Jis | set,**] | 
A •'. A ••• A ••• A ••• A ••• A .*• 

*"] And | seems to have | risen in | vain.**] | 

A ••• A ••• ■•• A ••• ••• A ••• 



**] Catha- | rina | **j has | fled like a | dream, | 

A /. ••• A .'• A ••• A ••• ••• A ••• 

(So | vanishes | pleasure, | ^ a- I las !) **j I h H I 

A/. A .-. /. A ••• A .". A ••• A ••• 

But has | left**] | **Ja re- | gret^ | **]and es- I teem, 

A ••• A ••• A-'. ••• A ••• A ••• /. A ••• 

^| That I will not so | suddenly | pass.**] | 

A ••• A ••• ••• A ••• ••• A .'. 



~]The | last | evening | ramble | *»| we I made,*1 I 

A •• A--. A ••• A ••• A ••• A 

~\ Catha- | rina, | **] Ma- | ria, | M and I I,~] I 

A .*. .-• A-'- A ••• A--. A •••• A-"- 



(143) 



144 GRAMMAR OF ELOCUTION. 

**! Our | progress was | often de- | lay'd I 

A ••• A ••■ ••• A ••• ••• A ••• 

*1 By the | nightingale | warbling | nigh.*'; 

A ••• ••• A ••• ••• A ••• A ••• 



*1 We | paus'd under | many a | tree,*] | 

A ■■• A ••• ••• A ••• ••• A .'. 

*1 And | much was | she | charmed | *]with a | tone*] I 

A ••• A ••• A-'- A .'■ A ••• ••• A •■• 

Less*] | sweet to Ma- | ria and | me,*] | 

A .'. A ••• ••• A--. ••• A ••• 

Who so | lately | *] had | witness'd | *] her | own. | *]*] | *]*] j 

A ••• A ••• A ••• A ••• A ••• A ••• A ••• A •••' 

My | numbers | that | day | *] she had | sung,*] I 

A/- A ••• A ••• A--. A ••• ••• A .*. 

*] And | gave them a | grace so di- | vine,*] I 
A ••• A •'. ••• A ••• ••• A .'. 

*] As I only her I musical I tongue I 

A ••• A ••• ••• A ••• ••• A ••• 

*] Could in- | fuse into | numbers of | mine.*] I 

A .'. ••• A ••• ••• A ••• ■•• A ••• 



^1 *] | *| The | longer I | heard *] | *] I es- | teem'd *] 

A .-. A ••• A ••• ••• A ••• A ••• ••• A 

*] The j work of my | fancy the | more,*] | 
*] And | e'en to my- | self never | seem'd** | 

A ••• A ••• ••• A ••• ••• A 

*] So | tuneful a | poet be- | fore. | *] *] | *] *1 | 

A ••• A ••• ••• A ••• ••• A ••• A ••• A ••• 



Though the | pleasures of | London ex- | ceed*i | 

A ••• A ••• ••• A ••• ••• A ••• 

*] In | number | *] the | days of the | year,*] | *] *] | 

A ••• A ••• A ••• A ••• ••• A •••' A .*. 

*] Catha- | rina (did | nothing im- | pede) *] | 

A .-. .-. A ••• ••• A ••• ••• A 

**J Would | feel herself | happier | here.*] | 

A ••• A ••• ••• ' A •• ••• A ••• 



EXERCISES. 145 

**| For the | close- woven | arches of | limes, ^j | 

A ••• ••• A ••• ••• A ■■• ••• A 

**| On the | banks of our | river, | ^ I | know,**! | 

A .'. •■• A ••• ■•• A ••• A ••• A ••• 

""j Are | sweeter to | her *"j | many | times *"| | 

A .-. A ••■ ••• A •■• A ■•• A ••• 

*"] Than | aught that the | city can | show. | *| **] | *\ *"| [ 

A ••• A ••• ••• A •■• ■•• A ••• A ••• A ••• 



So it | is ^ | ^ when the | mind | ^ is en- | clued *"J | 

A ••• A ••• A ••■ ••• A •■• A ••- ••• A ■•■ 

*] With a | well-judging | taste from a- | bove^ | 

A ••• ••• A ••• ••• A ••• ••• A •■ 

Then ""j | (whether em- | hellish' d or | rude) **| | 

A ••■ A ••• ••• A ••• ••• A .-• 

*1 'Tis | Nature a | lone **| | *| that we | love.^ [ 

A' ••• A ••• ••• A ••• A ••• ••• A •■• 



M The a- | chievements of | art may a- | muse,^ j 

A ■•• ••• A ••• •■• A ••• ••• A •■• 

*"| May | even our | wonder ex- | cite,**] | 
A ••• A ••• ••• A ••• /., A ••• 

*\ But | groves,**! | hills, and | valleys, | *] dif- | fuse ^| I 

A .-. A ••• A ••• A ••• A ••• A •■• 

**1 A | lasting | *] a | sacred | ^ de- | lights, | **H | 1 ~] | 

A ••• A ••• A ••• A ••• A ••• A ••• A •'- A ■" 



Since | then | *[ in the | rural re- | cess **J | 
A ••• A ••• A ■•• ••• A ••• ••• A ••• 

**| Catha- | rina a- | lone can re- | j oice ; *"| I 

A ••• ••• A/. ••• A ••• ••• A ••• 

**j May it | still be her I lot to pos- I sess **| I 

A •■• ••• A ■■■ ••• A ■•• --. A •■• 

**] The | scene of her | sensible | choice ! *\ 

A .-• A •••. ••• A ••• •-. A 



*"] To in- | habit a I mansion re- I mote *"] I 

A .-. .-. A .-. .-. A ••• .-. A ••• 

**| From the | clatter of | street-pacing I steeds, ^, 
A .-. / A ••• ••• A ••• .-. A ••• 

13 



146 GRAMMAR OF ELOCUTION. 

*] And by | Philomel's | annual | note *] \ 
*1 To | measure the | life that she | leads.*! 



*1 With her | book,*] | *] and her | voice,*] | *] and her | lyre,*] | 

A .-. .-. A ••• A ••• ••• A ••• A ••• .-. A ••• 

*] To | wing all her | moments at | home ) *] | 

A ••• A .-. ••• A ••• ••• A 

*1 And with | scenes | *] that | new | rapture in- | spire,**] | 

A •-. ••• A .-. A ••• A ••• A ••• ••• A •-. 

**| As | oft as it | suits her to | roam ; *] | 

A ••• A ••• ••• A .'. .'. A 



*] She will | have *] | just the | life *] | *] she pre- | fers,*] | 

A .-. .-. A ••• A ••• A ••• A .-. ••• A ••• 

*] With | little to | hope | *1 or to | fear,*! 

A ••• A ••• ••• A ."• A ••• ••• A ••• 

*1 And | ours would be | pleasant as | hers,*] | 

A .-. A .'. .*• A •'• ••• A ••■ 

Might we | view her en- | joying it | here.*] | *1 *] I *] *] I 

A ••• A ••• ••• A ••- ••• A ••• A ••• A ••• 

COWPER. 



EXTRACT FROM JUNIUS. 

*] My I Lord, | *] *] | if the | measures | *] in | which you 
have been | most sue- | cessful | *] had | been sup- | ported by 
| any | tolerable ap- | pearance of | argument, | *] *] | I should 
have | thought my | time | not | ill em- | ployed | *] in con- | 
tinuing to ex- | amine your | conduct | *1 as a | minister, | *j 



EXERCISES. 147 

and | stating it | fairly to the | public. | *] **| | **| But | when I 
| see | questions of the | highest | national im- | portance | 
carried as they | have been, | **| and the | first | principles of 
the | consti- | tution [ **| *1 | openly | violated, | *"1 with- | out 
| argument or | decency, | *1 *1 | **| I con - | f ess I *1 I I §i ve 
up the | cause in de- | spair. | *j *| \ .**| The | meanest | **j of 
your | prede- ] cessors | had a- | bilities | H suf- | ficient to | 
give a | color to their | measures. | *"] **] | If they in- | vaded 
the | rights of the | people, | ^| they | did not | dare to | offer 
a di- | rect | insult | *"] to their | under | standing : | **| and, in | 
former | times, | ^] the | most | venal | parliaments | made it 
a con- | dition in their | bargain with the [ minister, | that he 
should | furnish them | *[ with | some | plausible pre- | tences 
| **| for | selling their | country and them- | selves. | ^ w | j 
You have | had the | merit of | intro- | ducing a | more coin- 
| pendious | system of | government and | logic. | **| You | 
neither ad- | dress yourself | *1 to the | passions | **| nor the | 
under- | standing, | *] but | simply to the | touch. | *i **| | *\ 
You ap- | ply yourself | "*| im- | mediately to the | feelings of 
your | friends; | who, | contrary to the | forms of | parlia- 
ment, | never | enter | heartily | into a de- | bate | ^] un- | til 
they have di- | vided. | *"] Re- | linquishing, | therefore, | all | 
idle | views of a- | mendment to your | grace, | **j or of | bene- 
fit to the | public, | **| **| | let me be per- | mitted to | leave for 
an- | other | letter [ **| the | exami- | nation of your | character 
and | conduct ; | *1 **j | simply re- | marking in | this | that 
there is | something in | both | ^ which dis- | tinguishes you 
| not only from | all | other | ministers, | **| but | all other | 
men. | "\ **| | *| It | is not that you | do | wrong by de- | sign, 



148 GRAMMAR OF ELOCUTION. 

| but that you should j never | do | right by mis- | take. | **| 
*I | **| It | is not that your | indolence, | *| and your ac- | tivity, 
| **J have been | equally | rnisap- | plied | »] *< | but that the | 
first | uniform | principle, | *1 or | if I may | call it the | 
genius | **| of your | life, | *"j should have | carried you | 
**] through | every | possible | change | **] and | contra- | dic- 
tion of | conduct, | ^1 with- | out the | momentary | impu- | 
tation or | color of a | virtue. | And that the | wildest | spirit 
of | incon- | sistency | **J should | never | once have be- | trayed 
you | into a | wise or | honorable | action. 



DR. FRANKLIN'S JOURNEY FROM BOSTON TO 
PHILADELPHIA, IN OCTOBER, 1723. 

**] My I friend a- | greed for my | passage | **j with the | cap- 
tain of a | New York | sloop. | *1 *"! | *1 By | favor of a | good 
| wind | ^ I | found myself | **] in | three | days in | New 
York, | nearly | three | hundred | miles from my | home, | **] 
at the | age | only of | seventeen | years, | **] with- | out | 
knowing an | indi- | vidual | ^ in the [ place, | **| and with | 
very little | money in my | pocket. | *"] Phila- | delphia | ^wasa 
| hundred | miles | further. | **| | **] I | hesitated | not | **| to 
em- | bark in a | boat | **| in | order to re- 1 pair by the | shortest 
| cut of the | sea to | Amboy; | leaving my | trunk and ef- | 
fects | ^| to come | after me | **| by the | usual | *\ and more | 



EXERCISES. 149 

tedious con- | veyance. | •] **] | **j In | crossing the | bay | **|we 
| met with a | squall | *l which | shattered to | pieces | ^ our 
| rotten | sails, | *1 pre- j vented us | *"j from | entering the | 
Kill, | ~] and | threw us upon j Long | Island. | *| ^ | M In 
ap- | proaching the | Island, | *1 we | found that we had | 
made a | part of the | coast | where it was | not | possible to | 
land, | **| on ac- | count of the | strong | breakers | *"] pro- | 
ducedbythe | rocky | shore. | ^l** 1 , | Night came | on, | ""j and 
| nothing re- | mained for us | **] but to | wait | quietly the 
sub- | siding of the | wind, | "*| till | when we de- | termined 
to | sleep, | ^j if | possible ; | *°1 **| | *] for | that | purpose we | 
went be- | low the | hatches. | **] The | sea | broke over the | 
boat, | *"j and | reached us | in our re- | treat, | so that | we 
were J presently com- | pletely [ drenched. | 

^( We | had very | little re- | pose | *"J **] | during the | whole 
| night : j **| but the | wind a- | bating the | next day, | **| we 
sue- | ceeded in | reaching | Amboy be- | fore it was | dark, | 
"■*] *| | after | having | passed | thirty | hours with- | out pro- | 
visions. | ~\ ~] | ~\ *\ \ 

**] The | next | day I | crossed the | river in a | ferry boat, 
| *1**| | **1 and con- | tinued my | journey on | foot. | ^J I had | 
fifty | miles to | walk | **| in | order to | reach | Burlington, | 
where I was | told I should | find | passage-boats | **] that would 
con- | vey me to | Phila- | delphia. ""j It | rained | hard the ' 
whole | day, | **| **] | so that I was | wet to the | skin. | **] *"] j 
Finding my- | self fa- | tigued j **| a- | bout | noon, | **| I | stop- 
ped at a | paltry | inn, | **] where I | passed the | rest of the | 
day, | '•j and the | whole | night, | •*] be- | ginning to re- | gret 
that I had | quitted my | home. | **] The | next | day 
13* 



150 GRAMMAR OF ELOCUTION. 

how- | ever, | **] I con- | tinued my | journey, | **| and ar- \ 
rived in the | evening | *] at an | inn | eight or | ten | miles 
from | Burlington. | ~]~j | Here I | spent the | night, | *| and 
| reached | Burlington the | next | morning. | **] »-| ] **l On my 
ar- | rival | **| I | had the | mortifi- | cation to | learn that the | 
passage-boats | **| had | sailed a | little be- | fore. | **| ^ | This 
was on a | Saturday, | ~j and there | would be | no other 
boat | *] till the | Tuesday | following. | **] ~j | Here I im- 
agined my- | self to be | fixed till | then ; | **| but | walking 
out in the | evening, | **j by the | river side, | **| I | saw a 
boat with a | number of | persons in it | **J ap- | proach. | ' 
It was | going to | Phila- | delphia, | ^j and the | company 
took me | in. | **] **| | As there was | no | wind, | **| we could 
only | make | way with our | oars. | *| A- | bout | midnight, 
not per- | ceiving the | town, ] **| **| | ^ and | some of the 
company | **j were of o- | pinion | **| that we | must have 
passed it, |" **j and were un- | willing to | row any | further, 
**| the | rest | not | knowing | where we | were, | **| it was 
re- | solved that ] we should | stop. | **| We | drew | towards 
the | shore, | ^} ^ | entered a | creek, | *\ and | landed | near 
some | old | pali- | sades, | **| which | served us for | firewood, 
| **j it | being a | cold | night in Oc- | tober. | T**j | Here we 
| stayed till | day, | ^J when | one of the | company | found 
the | place in | which we | were | **j to be | Cooper's | Creek, 
| **| a | little a- | bove Phila- | delphia, | which in re- | ality | *»| 
we per- | ceived | *ithe | moment we were | out of the | creek. 
| **j We ar- | rived on | Tuesday, a- | bout | eight or | nine 
o'- | clock in the | morning, | **| and | landed on | Market 
street I wharf. I *1 *1 I 



EXERCISES. 



151 



On my ar- | rival at | Phila- | delphia, | **] I was | in my | 
working | dress, | **| my | best | clothes | being to | come by | 
sea. | *] I was [ covered with | dirt; | H my | pockets were | 
filled with | shirts and | stockings ; | **] I was | unac- | quainted 
with a | single | soul in the | place, | ^and | knew not | where 
to | seek for a | lodging. | **]*j | **i Fa- | tigued with | walking, | 
^^J | rowing, | ^j and | having | passed the | night | ^J with- | 
out j sleep, | I was ex- | tremely | hungry. | **| I | walked to- | 
wards the | top of the ] street, | looking | eagerly | *"| on | 
both | sides, | H till I | came to | Market street, | ^j ^ | where 
I | met a | child with a | loaf of | bread. | **] I in- | quired | 
where he had | bought it, | **] and | went | straight to the | 
baker's | shop, [ **j which he | pointed | out to me. | ^ ""l | *1 
I | asked for some | biscuits, ex- | pecting to [ find | such as 
we | had at [ Boston ; | ^ but they | made, | **| it | seems, | 
none of | that | sort at | Phila- | delphia. | ^j I | then | asked 
for a | three-penny ( loaf: | **] they | made no | loaves of j 
that price. | — **| *[ | 

Finding myself | ignorant | **] of the j prices, | **] as | well 
as of the | different | kinds of | bread, | *"1 I de- | sired him 
| **] to | let me | have | three- | penny worth of | bread of | 
some | kind or | other. | **| ^ | *1 He | gave me | three | large 
| rolls. | "*! I was sur- | prised at re- | ceiving so | much • | ""j I 
| took them, how- | ever, | ^ and | having | no | room in my 
J pockets, | **j I | walked | on with a | roll | under each j 
arm, | eating the | third. | *"i In | this | manner I | went 
through | Market street | **j to | Fourth street, | **j and | 
passed the | house of Mr. | Read, | *| the | father of my | 
future | wife. | ^ She was | standing at the | door, | ^ ob- | 



152 GRAMMAR OF ELOCUTION. 

served me, | **] and | thought with | reason | *| that I | made 
a | very | singular | **| and gro- | tesque ap- | pearance. | *|**j | 
**| I | then | turned the | corner, | **| and | went through | 
Chestnut street, | eating my | roll | all the | way; | *| and 
having | made | this | round, | **| I | found myself | **] a- | gain 
on | Market street | wharf, | near the | boat in | which I 
ar- | rived. | *1 I stepped | into it | **j to | take a | draught of | 
river water ; | *"] and | finding my- | self | satisfied with my | 
first | roll, | **| I | gave the | other | two to a | woman | **| and 
her | child, | **j who had | come | down the | river | with us 
in the | boat, | *"1 and was | waiting to con- | tinue her | jour- 
ney. | **| **j | Thus re- | freshed, I re- | gained the | street, | *" 
which was | now | full of | well-dressed | people, | all | going 
the | same | way. | *i I | joined them, | **J and was | thus | 
led to a | large | Quakers' | meeting-house, | near the | 
market-place. | ^ I | sat | down with the | rest; | *| and | 
after | looking | round me for | some | time, | hearing | no- 
thing | said, | **j and | being | drowsy | **] from my | last | 
night's | labor and | want of | rest, | *| I | fell into a | sound 
| sleep. | *] In | this | state I con- | tinued till the as- | sem- 
bly dis- | persed, | **j when | one of the | congre- | gation | 
had the | goodness to | wake me. 1*1*11 This was | conse- 
quently the | first | house I | entered, | *] or in | which I | 
slept in | Phila- | delphia, | *H | ~1 ~j | 



EXERCISES. 153 



FROM SHAKSPEARE'S HENRY IV. 

SECOND PART — ACT THIRD. 

How many | thousands | *| of my | poorest | subjects | 
^| Are at | this | hour a- | sleep. | *| *[ | | gentle | sleep ! | 
**| ^| | Nature's | soft | nurse, | how have | I | frighted thee, 
'"] That | thou no | more wilt | weigh mine | eyelids | down, 
*j And | steep my | senses in for- | getfulness ? | *l **| | **| **] | 
"Why | rather, | sleep, | liest thou in | smoky | cribs, 
**| Upon | uneasy | pallets | stretching thee, | 
**J And | hush'd with | buzzing | night-flies ] **] to thy | slum- 
ber; | 
Than in the | perfumed | chambers of the | great, | 
I *1 *1 1 Under the | canopies | ^ of | costly | state, 
""I And | lulled with | sounds of | sweetest | melody ? | 
""j | thou | dull | god, | why | liest thou with the | vile, 
**| In [ loathesome | beds, | m and | leavest the | kingly | couch [ 
**j **| | *1, A | watch*case | *1 or a | common | larum-bell ? | 
*\ **J | Wilt thou | **| upon the | high and | giddy | mast | 
^ ^ | Seal up the | ship-boy's | eyes, | *| and [ rock his | brains | 
*"j In | cradle of the | rude, im- ] perious | surge, 
*"| *"j | And in the | visi- | tation of the | winds | *"| *"J | 
**| *1 | Canst thou, | | partial | sleep ! | give thy re- | pose | 
**j To the | wet | sea-boy | *"] in an | hour | so | rude, f 



154 GRAMMAR OF ELOCUTION. 

*| *] | And, in the | calmest | *\ and | most | stillest | night, | 
^ With | all ap- | pliances and | means to | boot, | 
*1 De- 1 ny it to a | king? | *j ~] | Then | happy | low ! lie | down, | 
^ Un- | easy | lies the | head | *\ that | wears a | crown. 



STORY AND SPEECH OF LOGAN. 

1. **] In the | spring of the | year | seventeen | hundred and 
| seventy- | four, | *| a | robbery | was com- | mitted by some | 
Indians | *| on | certain | land ad- | venturers | *] on the 
0- | hio | river. | *] The | whites in | that | quarter, | *< ac- | 
cording to their | custom, | under- | took to | punish this | 
outrage [ **j in a | summary | way. | **J **j | Captain | Michael | 
Cresap, ] ^ and a | certain | Daniel | Greathouse, | leading | 
on these | parties, | **| sur- | prised, at | different | times, | 
travelling and | hunting parties | *"| of the | Indians, | having 
their | women and | children | with them, | **j and | murdered 
| many. | ^| ^ | ^| A- | mong | these | M were, un- | fortu- 
nately, the | family of | Logan, | ^| a | chjpf, | celebrated in | 
peace and | war, | **] and | long dis- | tiuguished as the | 
friend of the | whites. | *"] *\ | 

2. This un- j worthy re | turn | **J pro- | voked his | venge- 
ance. | **] **! | **] He ac- | cordingly | signalized him- | self in 
the | war which en- | sued. | **] **| | **] In the | autumn of the 
same | year | *\ a de- | cisive battle was [ fought at the 



EXERCISES. 155 

mouth of the | Great Ka- | nawha, | **J be- | tween the col- I 
lected | forces of the | Shawanese, | Mingoes, aud | Dela wares, 
| **| and a de- | tachinent of the Vir- | ginia mi- | litia. | h 
""j | The | Indians were de- | feated, | *»j and | sued for | 
peace. | *"| **| | Logan, how- | ever, dis- j dained to be j seen 
among the | suppliants. | **] **| | ""j But | lest the sin- | cerity of 
a | treaty should | be dis- | trusted, | *\ from | which so dis- | 
tinguished a [ chief ab- | sented himself, | *"| he | sent, by a I 
messenger, | **] the following | speech, | **j to be de- | livered 
to | Lord | Dunmore : — 1*1*11 

3. "I ap- | peal to | any | white man to | say, if | ever he | 
entered | Logan's | cabin | huugry, | ^ and he | gave him 
not | meat; | **] if | ever he | came | cold and | naked, and 
he | clothed him not. | **| M | During the | course of the | last 
| long and | bloody | war, | **| *"] | Logan re- | mained | idle in 
his | cabin, | w | an | advocate for | peace. | **| ^ | Such was my 
| love for the | whites, | **| that my | countrymen | pointed as 
they | passed, | *1 and | said, | ' Logan is the | friend of | white 
men.' \^~\\ 

4. ^ "I had | even | thought to have | lived with you, | but 
for the | injuries of | one | man. | **| **j | Colonel | Cresap, 
| **j the | last | spring, in | cold | blood, | ^ and | unpro- | voked, | 
•J *1 | murdered | all the re- | lations of | Logan, | not even 
| sparing my | women and | children. [ M **J j M There | runs 
not a | drop of my | blood in the | veins of | any | living | 
creature. | < *j"*J | This | called on me | ^j for re- | venge. | **j *\ 
| **] I have | sought it ; \ M I have | killed | many ; | *1 I have 
| fully ] glutted my | vengeance. | **| **| | **| For my | country, 
H I re- | joice at the | beams of ] peace; | **| but | do not | 



156 GRAMMAR OF ELOCUTION. 

harbor a | thought that | mine is the | joy of | fear. | ^| *■] | 
Logan | never | felt | fear. | **] **| | **] He | will not | turn on his 
| heel | **| to | save his | life. | **| **| | Who | is there to | mourn 
for | Logan ? | *| Not | one !" | **] *| | 



LOVE OF A FATHER. 

^1 The I following | most re- | markable | *»| and | beautiful 
| instance of | filial af- ] fection ap- | peared in the | Herald, 
of | Lima, (Pe- | ru,) **| to | which it was com- | municated | 
by the Al- | calde of | Callao. **| *\ 

Gentlemen, — | ~] There | having | passed in my | office | 
(justice of the | peace) | **] a | scene of | great | interest, | 
*"| and | most | rare at | any | time and | any | place, | ^ I | 
cannot re- | frain from com- | municating the | same | "*| to 
you, | **| be- | lieving that | you will con- | cur with | me | **J 
in the o- | pinion that an | act so | humble and | worthy the 
| best | qualities of | human | nature, | **] de- | serves to be 
com- | memorated | *"j by | means of the | press. | **] **| | 

*"] A- | bout | eight o'- | clock this | morning, | ^ a tu- j 
multuous as- | sembly of | people | **| in- | vaded my | house, 
| bringing | in with them | *] a | venerable- | looking | man. 
| *] **] | ^ They in- | quired for the | justice. | »*| **j | **j On 
de- | manding of them the | reason of a | semi- | riotous col- j 
lection, they | all be- | gan to | speak at | once, | *] *] | so that 



EXERCISES. 



157 



I I was for a | time un- | able to | compre- | hend | what was 
the | true | state of the | case. f *| **| | Having, how- | ever, at 
| last ob- | tained | silence, | **| the | old | man ad- | dressed 
me | thus : — | **] **| \ 

" Mr. Al- | calde, | having | buried my | wife, the | mother 
of | these | four | lads, | *| I | ordered | this one, | named | 
Jose Ma- | ria, | **| to | take | charge of the | other | three, | 
who have al- [ ready made ( choice of their | elder | brother's 
pro- | fession. | **] H | These | two, | Anta- | nacio and | Dio- 
| nisio, | ^ are | both | married ; | *■) r| \ **j the | youngest, | **J 
al- | though | single, sup- | ports himself | **| by his | labors 
as a | fisherman. | **| **] | Ever | since the | mother of the | 
boys was | taken a- | way from me, | I have been | living with 
my | elder | son | H in the in- | terior • | *| but have | never | 
failed to re- | ceive j care and at- j tention from the | other | 
three. | *"] De- | sirous of | coming to | Callao, | Jose Ma- | ria 
| wrote to | Julian, in | order that | he should pro- | vide for 
me, | which in- | junction has | given of- | fence to | Anta- | 
nacio, | **| who de- | clares that, j being the | second | son, the J 
future | care of me | **] be- | longs of | right to | him. | **j M | 
I would | like to di- | vide myself | H into | four | parts, | so 
as to | give | each of my | children a | portion of my | body ; 
| **| but as | that | cannot | be, | *[ we have | come before | 
you, | *\ Mr. Al- | calde, | *j in | order that | you should de- | 
cide | which of | these | young | men is to | be pre- | ferred." | 
**| M | **j The | father had | hardly | finished ] speaking [ ^| 
when the | generous dis- | pute com- | menced. | **j **| | ""j *] | 

Anta- | nacio, [ *| the | second | son, | said that his | father, 
| having been | hitherto | living with his | elder | brothers, | **j 
14 



158 GRAMMAR OF ELOCUTION. 

it was | now | his | turn to | have pos- | session of him, | *•] 
by | order of | birth. | ^j *"| | Dio- | nisio con- | tended that 
his | brother, Anta- | nacio, | could not | be with his | father, 
be- | cause he | had a | great | deal to | do, | *j and | could 
not | give his | father the at- | tention he re- | quired. | **j 
The | fourth | son, | Julian, | repre- | sented to me | H that 
it | properly be- | longed to | him to sup- | port his | father, | 
*] as | he was the | youngest | *\ and un- | married. | **1 *1 | *", 
In | truth I | knew not | what to re- | solve, | *J my | heart 
was | so af- | fected | **1 by the ex- | traordinary | picture pre- | 
sented to me. | *"| As I con- | templated | this | scene, | **J the 
| old | man, Cle- | mento, | said, | *»i " My | dear | children, | 
H my | heart | over- j flows with | satis- | faction in | witnessing 
your dis- | putes re- | specting | which of | you shall | take | 
charge of your | old | father. | **] ** | ^ I would | gladly | give 
con- | sent to you | all, | **] and | therefore pro- | pose to be 
per- | mitted to | breakfast with | one, | dine with an- | other, 
| sleep in the | house of the | third, | **j and | thus | keep | 
changing from | day to | day; | ^1 **j | ^ but | if you | do not 
con- | sent to | this ; | let his | honor, the | judge, de- | ter- 
mine | what shall be | done with me." |. *"1 *1 | 

**] The | young] | men u- | nanimously re- | jected | this 
propo- | sition, be- | cause they | said their | father would | 
lead an ] idle, | errant, un- | quiet | life. | **| I | then pro- | posed 
to | write on | separate | pieces of | paper the | names of the 
| sons, and | let the de- | cision of | chance | settle the | ques- 
tion. | *"l *"] | While I | wrote | these | papers and | doubled 
them, | *"j and | put them | into the | hat of Cle- | mento, | *»| 
which ] served as a | ballot-box, | ^ a | deathlike | silence 



EXERCISES. 159 

pre- 1 vailed, | and there was I plainly to be | seen, ex- 1 pressed 
in the | countenance of | each of the | sons, his | hopes of ] 
being the | lucky re- | ceiver of the de- | sired | prize. | , "j *•] | 
^iThe | old | man | put his | tremulous | hand | into the | 
hat, | ^ and | drew out the | name of | Anta- | nacio, | **j the j 
second | son • | ^ *"1 | **] My | friends, I | hardly | know | how 
to ex- | press to you | **| the | new | scene which | then broke 
| in upon me ! | **j **j | Anta- | nacio, | **| upon | hearing his | 
name | called, | broke into | praises | **| to the Om- | niscient 
| **| for ac- | cording him | such a | boon. | ^ **] | **] With his 
| hands | clasped, and | eyes di- | rected to | heaven, | ""J he re- 
| peated | over and | over his | thanks, | then | fell upon his | 
knees be- | fore his | venerable | parent, and | bathed his J 
sandaled | feet with | tears of | frantic | joy. | ^ ""l | *"| The 
| other | brothers | followed his ex- | ample, and em- | braced 
the | feet of the | good old | patriarch, | **| who re- | mained 
like a | statue, op- | pressed with e- | motions | ^ to | which 
he | knew not | how to [ give | vent. | *"| *\ \ 

Such a | scene | melted | all who | witnessed it, | **j a- | 
mong | whom | were the lieu- | tenant of | police, | **] the 
Al- | calde | Don Al- | tano, | **} and | some | other | friends. | 
** **! | **l The | brothers | then re- | tired, | **j but | soon re- | 
turned with a | fresh de- | mand, | **| which | was, that | I 
should com- | mand that | since Anta- | nacio had | been | 
favored by | lot with the | charge of the | father, | **j they | 
could not | be de- | prived of the | pleasure of | taking | out 
the | old | man to | walk, by | turns, in the | after- | noon; | 
**} which | order I | gave magis- | terially, | *\ in | order to | 



160 GRAMMAR OF ELOCUTION. 

gratify these | simple, | honest | people, | *| and they | theu 
re- | tired con- | tented. | *\ **j | 

This | humble | family, of | Indian ex- | traction, | *"] is | 
named | Villiavi- | cencio. | *[ They are | natives of the | val- 
ley of Cho- | rillo, | **j but at | present re- [ side at | Callao. 



MINOR MORALS. 

It has been | truly | said | **{ that "the | most | solemD 
and | fearful | interests of | life | *"l de- | pend on | things in 
them- | selves | slight. | **j **j | ^j The | greatest | man that | ever 
| lived | **| was de- | pendent for | character and | happiness | 
**| ^ | far | more upon his | little | acts, | **| than upon his | 
great a- 1 enlevements." | **} *1 1 *\ The | principle | here | stated 
| **| will ad- | mit of | various illus- | trations. | **| The un- | 
speakable ( worth of | little | things in | conduct and | cha- 
racter, | **] the | mischief of | clisre- | garding their im- | 
portance j **| in our i- | deals of | happiness, | **) and | in our 
en- | deavors after | moral and re- | ligious | progress, | ~ will 
| readily ap- | pear from a | few con- | sider- | ations. 

Generally | speaking, | happiness de- | pends | more on 
at- | tention to | small | ~j than to | great things. | *] **j | 
Want of | self-con- | trol in | trifles, | **] the | sensitiveness of 
| vanity, | petty | passions, | habits of o- | mission, | rather 
than of | actual | wrong- | doing — | **] *| | these, per- | h; 



EXERCISES. 161 

more than | what are | called | great | trials, | trouble our 
se- | renity. |*J *^| Crimes | cause | less | misery than | do 
these | small neg- | lects and | carelessnesses, | *1 into ] which 
I people | constantly | fall, | *] who have J not vety | quick | 
moral per- | ceptions. | *1 **] | **| *"] | 

Who does not | know that | one may | never | violate | one 
of the | ten com- | mandments, | *1 and | yet be | constantly 
the | cause of an- | noyance to | all con- | nected with him, | 
**] by | thoughtless | disre- | gard of their | feelings, | ""j by | 
careless | speech, | ^j an un- | comfortable | temper, | *\ an 
in- | ordinate | self- | love, | *»] by | meanness in | trifles, | **| 
by | slight de- J partures in | these and | other ) ways j **> 
from the | strict J law of j justice and J good j feeling' ? j *"j **] | 
How many j more j little | stings there are J darted j than 
there are j heavy J blows j struck at our \ every day j com- 
fort and en- | joyment ! j *"] On | what | small | things does 
the | happiness of | home de- | pend ! | **j If | they be | lack- 
ing, | how | poorly do | such | things as | competence, | **] 
re- | specta- | bility, | culture, | health, | *] sup- | ply their | 
place ! | ^ ^ | ^ An in- | creased | modicum of | patience | 
under the | minor | ills of | life ; [ M a | firm re- | solve | not to 
let | these | vex him so | much; | ?] a | gentler | tone; | ^ a 
| readiness to | do un- | asked | some little | favor, | make | 
some little | sacrifice; | *[*\ f small at- j tentions; | <■*! the | sim- 
ple | question | asked | *"] and | answered as it | should be — | 
*"j M | **! is it | well for my | character, | ^ to say | nothing of | 
others' | comfort, | ~\ that | all the ar- | rangements and j 
plans of | this | household | ""j should revolve a- | round | my 
con- | venience, | ^ **• | my ] taste, ex- j clusively, | *■} as. | if 
14* 



lo'2 GRAMMAR OF ELOCUTION. 

there were | no | others to | be con- [ suited ? | **j **] I Is it. | 
too | much to | say, | «] that, in | many | cases, | ** a cor- J 
rection in | even | one of | these mi- | nute par- | ticulars, | *•] 
would | bring a- | bout | that which the | man or | woman | 
covets | most, | ^ ~j | feels the | want of | most — | ~| a | 
happy | home. | **] *"] | **| ~j | 

**| The | greatest | obstacles which | hinder re- | ligious at- | 
tainments and | progress, | **] are a- | mong | small | things. 

**j To | say | nothing of the | truth, | **j that the | most 
fla- | gitious | crime, | *| the | lowest | depths of | evil, | had 
a be- | ginning in | what was | trifling, | **J the | bad ef- | feet 
of | little o- | missions, | M in- | diligences, | carelessness, | **} 
can | hardly be ex- | aggerated. | ^ ^J | ^| It would | seem as | 
if it were | not very | difficult | *"] to | reach a | certain | point 
of | moral at- | tainment. | *i ^ | There is a | certain | general 
I average of | character, | *i which con- | sists in ex- | emptiou 
from | what is | heinous, j *"] ""j | positively im- j moral in ] con- 
duct, | **| which | many | reach. | **j *»] | **j But | how | few | go 
be- | yond it ! | **| How | few | are there | **J whose | lives are 
a con- | tinual | progress | **] in the di- | vine | life; | ** a | 
gradual, per- | haps, but | none the less | certain ad- | vance 
in | love to | God and | man. | *^ **| | 

**} Per- | haps the | very | narrow | clefi- | nitiou of the 
I single | word "sal- | vation/' \ **] has | something to | do with 
I this. -| **] **! | Many | seem con- | tent with | saving them- | 
selves from | what they | deem the | retri- | butions of a | 
thoroughly | evil and j sinful | life, | **] for- | getting that 
sal- | vation, in the | large, | true | sense of the | term, | *"| 
means | growth, | progress, | **] de- | liverance from | all that 



EXERCISES. 163 

is I not in | harmony | **| with the | heavenly | and the di- | 
vine. M 1 | ^, ^ | 

**| The | truth | is, | *"j our | characters | suffer | more from 
| what we | think | trifling o- | missions, | **j than they | do 
from | what we | call the com- | mission of | great of | fences. | 
**| The | former | eat into | character, | **| as | tiny | insects | do 
| "H into the | large | tree, | drying | up its | sap, | hindering 
its | growth. | *"| **] | **[ We | speak of the [ slave of in- | tempe- 
rance | M or | other [ sensu- | ality, | bound in the | chains of 
his | evil | habit. | **j *| | Are we not, ] all of us, | more or 
| less | bound ? | **| ^l | Not so ] much, how- | ever, by | strong 
| chains, [ **] but, | like | Gulliver in the | tale, | M by a | mul- 
titude of | threads | ^j which | still | keep us | down — | ^j **| | 
tiny | cords of de- | tention, | *i their | number [ making | up 
for their | indi- 1 vidual | insig- | nificance, | **] and | which would 
| not have been | fastened on our | strength | **J if we | had 
not | fallen a- | sleep a- | mong our | Lilli- | putian | adversa- 
ries. I ' — 1 ' — 1 I — 1 — ] J 

Great | duties, | **| ^ | great | sacrifices | even, | *"j are | often | 
much | easier than | small ones. | **j As | Fenelon | well | 
says : — | " How many | ^J are | willing to | die for' | Christ j | 
how | few are | able to | live | like him !" | 

So | true is | this, | ^| that it | is un- | doubtedly the | case 
that j many an | one has | died a | martyr, | who would have j 
been en- | tirely un- | able to | meet, in a | Christian | spirit, | 
**| the vex- | ations which | come a- | mid | life's | ordinary | 
circumstances. | **j The oc- | casions for | striking, | **j for he- | 
roic, | virtue | seldom oc- | cur • | "1, but | every | day, a- | mid 
what ad- | dresses | selfishness, | *"] or | love of | gain, | ^ or | 



164 GRAMMAR OF ELOCUTION. 

wounds | self- | love, | *"| or | shocks, per- | haps, a | too fas- | 
ticlious | taste, | **] or | irritates | temper, | *] there are | calls 
for | self-con- | trol, | **j for the | softening of | slight as- | peri- 
ties, | *"] for | wise | silence, | **| or | prudent | speech, | *i for 
| some | slight re- | linquishment, | all of | which are | tests 
of | Christian | character — | *"] *"1 | some of them | **] the | 
very | hardest | tests to j which | character | could be sub- j 
jected. | ^ **| | 

Let re- | ligionists | speak as | slightingly as they | may in 
| these | days, | when, in | some | quarters, re- | ligious ex- j 
citement and ma- | chinery | seem to have | taken the | place 
of the | old, | unosten- | tatious, | private, | simple | ways of j 
piety — | **] h | let them | speak | slightingly of | all as- | sur- 
ance and [ evidence | *"] which | do not | come from | mystical 
| raptures, | he | cannot be | very | for from the | right | 
path, | **j at | least from its | entrance, | ^ who, be- | cause 
he | wishes to | be a | child of | God, | **j sue- | ceeds iu | even 
[ such a | little | thing as | this — j **| ^ | being | gentle, i 
where he was | once | harsh; | truthful, | ^ where he was | 
once | careless in | speech; | **] for- 1 giving, | where he was | once 
vin- | dictive. | ^ **j | Yes, | even though his | whole | strug- 
gle to | this | end | **j may have | been a- | mong | trivial 
de- | tails. | having, | **] ex- | cept as re- | gards him- | self, j 
meagre re- | suits. | ^ **] | 

When a man | says, in | common | phrase, | It is a | great 
| thing to | be re- | ligious, | **| he | speaks | truly. | **] **] | But 
it is | not | always | doing what | he | calls a | great | thin-. 
*"| or in | placing him- | self in the | way of con- | spicuous 



EXERCISES. 165 

and | striking | instruinen- | talities, | **} tliat he | is to | seek 
to be re- | ligious. 

*| *] | If, when he | speaks | thus, he | means | that there is 
| something | so mo- | mentous, | *"] **j | so | vast, a- 1 bout re- | 
ligion, | **| that it | is to be | sought ex- | clusively a- | mid | 
influences | **] and e- | motions | lying | out of | common ex- | 
perience, | **| and | every-day j effort, | *»1 **] | he is in | error. 

*1 Re- | ligion is | vast, | **! **] | infinite | **j in its | scope. | 
**j But | these | terms | do not at- | tach to | this | simple | 
question : — | **[ Shall I | do | right or | wrong, as it | meets 
me to- | day ? | *"1 Yet, | who shall | say that | that | question 
is | not a mo- | mentous one ? \ M *1 | , *1 It is | not a | great | 
thing to | make a | small | sacrifice of | comfort, or | ease, or | 
interest, | **| for the | sake of a | principle, | "*] or an- | other's 
| happiness. | **} It is | not a | great | thing to | say to one's 
j self, | M I will | do | thus much— | *| I will | break off to- | 
day | ~j that | one | bad | habit, j ~j *■] | 

This is | not | doing a | great | deal, | **| and | yet | on my 
a- | bility to | do it, de- | pends the | question, | whether I 
shall | do | anything? ] **| ~] | whether I shall | ever | be a 
re- | ligious | man or | no ? | M **j | whether I | shall or shall | 
not | eren be- | gin to | be a re- | ligious | man? | **] *"i I 

11 Gather | up the | fragments," | **j said | Jesus. | *| **| | ^ 
The | soul that is | truly | wise | **] is | prudent, | ^ ^ | 
thrifty. | ^1 It | gathers | up | what the | others | disre- | 
regard. | *| **} | M It will | waste | nothing, | M fore- ( go | 
nothing, which | helps | character. | **| **| | 



166 GRAMMAR OF ELOCUTION. 



PSALM CXXXIX. 

| Lord, **] | thou hast | searched me, | **| and | known 
me. | M *| | *| ~j | *\ Thou | knowest my | down- | sitting | *j 
and mine | up- **j | rising; | *1 thou | under- | standest my | 
thought | *j a- | far | off | *1 ^ | ^ **j | M **] | Thou | com- 
passest my | path, **] | **] and my | lying | down, ^ | and art 
ac- | quainted with | all my | ways. | **] **j | For there is | not a 
| word in my | tongue, | **] but, | lo, **| | *i | Lord, | thou 
*| | knowest it | alto- | gether. | *] *] | *| **| | Thou hast be- | 
set me | *"j be- | hind and be- | fore, *"| | **| and | laid thy | 
hand upon me. | **j **] | *1 **| | Such **] | knowledge is | too | 
wonderful for | me ; | ~j *1 | it is | high, *"1 | ^| 1 1 cannot at- | 
tain unto it | **] ^j | "*j **] | Whither shall I | go *"J | **j from 
thy | Spirit ? | ^ ^ | ~] or | whither shall I. | flee from thy | 
presence ? | **] ** | **| **| | If I as- | cend **| | up into | heaven, 
| ^| ^! | thou art | there ; | **] **] | If I | make my | bed in | hell, 
| ^ be- | hold, *] | thou art | there. | **| m | *| ~j | If I | take 
the | wings of the | morning, | ** and | dwell in the | utter- 
most | parts of the | sea; **j | ^ *"] | Even | there | **| shall | 
thy **| | hand *"| | lead me, | *l and thy | right **] | hand shall 
| hold me. | ^] ^ | **] ^ | If 1 1 say, ~] | Surely the | darkness 
shall | cover me; | **| **| | even the | night **} | "*| shall be ] 
light about me. | "*j *"] | Yea, | **] the | darkness | bidet h not 



EXERCISES. 16 



from | thee ; | H ^j | but the | night | shineth as the | day : | 
*| **| | ~| the | darkness | ~\ and the | light *\ | "*j are | both 
a- | like to | thee. | *| *1 | *| *1 | 



SUMNER ON WAR. 

*J An- I other I prejudice in | favor of | war | ^is | founded 
on the | practice of | nations, | past and | present. | **[ *\ | *< 
There is | no | crime or e- | normity in | morals, | **| which | 
may not | find the sup- | port of | human ex- | ample ; | *\ ~\ | 
often | on an ex- | tended | scale. [ *1 *| | ^j But it | cannot 
be | urged in | our day, | **| *"| | that we are to | look for a | 
standard of | duty | **| in the ] conduct of | Tain, | fallible | 
man. | **| **J | M It is | not in the | power of | man by | any | 
subtle | alchemy, | **j to trans- | mute | wrong into | right. | 
*l **} | **J Be- | cause | war is ac- | cording to the | practice of 
the | world, | **} it | cannot | follow | that it is | right. | **j **J | 
*J For | ages [ **j the | world | worshipped | false [ gods; | **j 
but | these | gods were | not less | false be- | cause | all | 
bowed be- | fore them. | **j *] | ^j At | this j moment the | 
larger | portion of man- | kind are | Heathen ; | *1 but | Hea- 
thenism is | not | true. | **j **] | **| It was | once the | practice 
of | nations to | slaughter | prisoners of | war ; | *"| but | even 
the | spirit of | war re- | coils | now from | this | bloody | 
sacrifice. | *"| **] | **] In ] Sparta, | theft, | **] in- | stead of being 



168 GRAMMAR OF ELOCUTION. 

| judged as a | crime, | was, by a per- | verse mo- | rality, | ^ 
like | war it- | self, | dignified | into an | art | *■* and an ac- | 
complishment ; | **!**! | **] like | war | it was ad- | mitted | into 
the | system of | youthful eclu- | cation ; | and it was en- | 
lightened, like | war | also, by an | instance of un- | conquer- 
able | firmness, | ^ which | is a bar- | baric | counterfeit of | 
virtue. | **j ^l | **J The | Spartan | youth who al- | lowed the | 
stolen | fox be- | neath his | robe to | eat into his | heart, | w | 
is an ex- | ample of mis- | taken | fortitude, | not un- | like | 
that | which we are | asked to ad- | mire in the | soldier. | ^ 
*] | Other illus- | trations of | this | character | crowd upon 
the | mind; | *"| but I | will not | dwell upon them. | **j **| | **| 
We | turn with dis- | gust from | Spartan | cruelty, | **] and 
the | wolves of Ta- | ygetus; | *1 from the | awful | canni- 
balism | "*| of the Fee- | jee | Islands; | **] from the pro- 1 faue 
| rites of in- | numerable | savages; | **j from the | crushing | 
Juggernaut; | ^ from the | Hindoo | widow | lighting her | 
funeral | pyre ; | ^ from the | Indian | dancing at the | stake. 
1*1*11 **1 But | had not | all | these | ^j in their re- | spectivc 
| places and | days, | *\ like | war, the | sanction of es- | 
tablished | usage ? | **| **j | 

But it is | often | said, | **| **| | " Let us | not be | wiser than 
our | fathers." | **} **] | Rather let us | try to ex- | eel our | 
fathers in | wisdom. | ~j Let us | imitate | what in | them was 
| good, | ""j but | not | bind ourselves, | as in the | chains of | 
fate, | *] by | their im- | perfect ex- | ample. | ^l *"] | Principles 
are | higher than | human ex- | amples. | **| **] | **| Ex- | amplea 
may be | followed | when they ac- | cord with the | adn 
nitions of I duty. | *i **] | ~] But | he is uu- | wise and | wicked 



EXERCISES. 169 

! **] who at- | tempts to | lean upon | these, | rather than upon 
those | truths | **j which, | like the | Ever- | lasting | Arm, | 
m ~j | cannot | fail ! | *] **| | 

*i In | all | modesty be it | said, | **| we have | lived to | 
little | purpose, | **J if we | are not | wiser than the | gene- | 
rations | *1 that have | gone be- | fore us. | **j *| | It is the | 
grand dis- j tinction of | man | ^ that | he is a pro- | gressive 
| being ; \ that his | reason, | **| at the | present | day, | **| is | 
not the | reason of a | single | human | being, | **I but | that 
of the j whole | human | race, | **| in | all | ages from | which 
| knowledge has de- | scended, | **| in | all | lands from | 
which it has been | borne a- | way. | *"] **| | We are the | heirs 
to an in- | heritance of | truth, | gradually ac- | cumulating | 
**j from J gene- | ration to gene- | ration. | **j **] | 

M Let us | cease, | then, to | look for a ( lamp to our | feet, 
| **| in the | feeble | tapers that | glimmer in the | sepulchres 
of the | past. | *1 *] | Rather let us | hail those | ever- | burn- 
ing | lights a- | bove, | ^J in j whose | beams is the | bright- 
ness of | noon-day. f . **| *| J 



15 



170 GRAMMAR OV ELOCUTION. 



CATO'S SOLILOQUY ON IMMORTALITY. 

1 . *| It I must be | so : | *| **| | Plato, |**| thou | reasonest | well l\*[*[\ 
Else, | whence this | pleasing | hope, | **] this | fond de- | sire, | 
<*| This | longing after | imnior | tality? | **| **] | 

**| Or | whence this | secret | dread, and [ inward | horror, 
**] Of | falling into | nought ? | **| H | Why | shrinks the | soul 
Back on her- | self, | "*J and | startles at de- | struction ? ■ | *\ *■{ 
*| *| 'Tis the Di- | vinity that | stirs with- | in us : | 
*1 'Tis | heaven it- | self that | points out | **i an here- | after, j 
**j And | intimates e- | ternity to | man. 

2. ^| E- | ternity ! | *\ thou | pleasing, | dreadful | thought ! | 
Through | what va- | riety of | untried | being, | 

""J Through | what | new | scenes and | changes | *"j must we | pass ! | 
**J The | wide, | *"] the un- 1 bounded | prospect | lies be- | fore 

me; | ~, ~j | 
^| But | shadows, | clouds, and | darkness | rest upon it. | **| **| | 

3. Here will 1 1 hold. | *i ~j | If there's a | power a- 1 bove us, | 
(And that there | is, | all | nature | cries a- | loud, | **| 
Through | all her | works,) | He must de- | light in | virtue : | 
**| And | that which | he de- | lights in | must be j happy. 



EXERCISES. 171 

**] But | when ? | *< or | where ? | w j **! | This | world was | 

made for | Caesar ! | 
**j I'm | weary of con- | lectures : | this must | end them. |**j^| 

(Laying his hand on his sword.} 

4. Thus am I | doubly | armed. | **j My | death and | life, | 
**J My | bane and | antidote, | **] are | both be- | fore me. | **| *1 I 
This in a ] moment | brings me to an | end j | 
*\ But | this in- | forms me | ^1 shall | never | die. | ^ ^ \ 
^| The | soul se- | cured in her ex- | istence | smiles 
At the | drawn | dagger, | r] and de- | fies its | point. | w | *1 I 
**] The | stars shall | fade a- | way, | **j the | sun him- | self 
Grow | dim with | age, | **] and | nature | sink in | years ; | 
**| But | thou shalt ] nourish in im- | mortal | youth, | 
Un- | hurt a- | midst the | war of | elements, | 
**] The | wreck of | matter, | **| and the | crush of [ worlds. 

Addison. 



AGAINST PROCRASTINATION. 

*j Be I wise to- | day; | ^ 'tis | madness | *»| to de- | 

fer; ~j | -] M | 
Next | day the | fatal | precedent | **| will [ plead, | ~\ *< | 
Thus | on, *| | **j till | wisdom | *j is | pushed | out of | 

life, -i 1 1 -i m nl 



172 GRAMMAR OF ELOCUTION. 

•J Pro- | erasti- | nation | *»] is the | thief of | time ; *\ \ **| *\ \ *j *** | 
Year after | year it | steals, | *\ till | all are | fled, i- | | 
And to the | mercies of a | moment | leaves *] | 
*| The | vast con- 1 cerns | *| of an e- 1 ternal | scene. **j \ *»| **] \ **j »| j 

If | not so | frequent, | would not | this be | strange ? **j | 
*[ That I 'tis so | frequent, | this is | stranger | still. | **j **| | *[ ** | 

**1 Of | man's mi- | raculous mis- | takes, **| | this **} | bears 

The | palm, **| | *[ that | all men | *] are a- | bout to | live ; 

**j For | ever | **} on the | brink of | being | born. | **| **! I **| **J j 

All | pay themselves the | compliment to | think | 

**] They | one day | shall not | drivel ; | **] and their | pnde M \ 

*] On | this re- | version | takes up | ready | praise, *\ | 

*"1 At | least their | own ; | **] their | future | selves | *"1 ap- | 

plaud;~]| ^m| — I — 1 J 
How | excellent | that m | life | *| they | ne'er will | lead ! M | **| *| j 
Time | lodged in their | own | hands | **| is | folly's | vails; | **] **| | 
Tbat | lodged in | fate's | *l to | wisdom | **j they con- | 

sign; | ~|~|| 
M The | thing they | can't but | purpose, | **| they post- | 

pone; 1| ^ ~| | 
'Tis not in | folly, | not to | scorn a | fool; **] **j | 
**| And | scarce in | human | wisdom, | **J to | do | 

more. ~| | *1*1 | *1 1 | 



All | promise | **J is | poor | dilatory | man, **| | 
•J And | that **| | **| through | every | stage : | *J *j | **| when 
I vounff. in- 1 deed. ""I I 



EXERCISES. 173 

*■] In | full con- | tent we | sometimes | nobly | rest, *"j | 

**] Un- | anxious for our- | selves; *] | *\ and | only | wish, **| | 

**| As [ duteous | sons, **] | *"] our | fathers | ^J were more | 

wise. **j | *| ^ | 
*] At | thirty | **| **| | man sus- | pects himself | *] a | 

fool ^ ' — i | ' — i ^ — ] | 
Knows it at | forty, [ ~\ and re- | forms his | plan ; | **j **| | 
•J At | fifty | **] *"J | chides his | infamous de- | lay, *J | 
**J **j | Pushes his | prudent | purpose | **j to re- | solve ; | 
•J In | all the | magna- | nimity of | thought **] | 
•J Re- | solves ; *\ | *i and | re-re- | solves ; | *i **i | then **| | 

dies the | same. | **J *j | ■*] *] | 

Young. 



THE GRAVE. 

There is a [ calm | ^ for | those who | weep, **\ | 
^ A | rest **| | *l for | weary | pilgrims ] found, **] | 
**J They | softly | lie, **j | **] and | sweetly | sleep, **i | 
Low in the | ground. | **] ** | *i ** ( 

**] The | storm | *"| that | wrecks the | wintry | sky **! | 
No | more dis- | turbs ^j | their | deep re- | pose, **| | 
•"J Than | summer | evening's | latest | sigh, «i 

^ That | shuts | ^ the | rose. ^J | 1 ^j | ^ **] 
15* 



174 GRAMMAR OF EIiOCUTION. 

*| I | long to | lay | ^ this | painful | head *"| | 
**] And | aching | heart be- | neath the | soil, | 
^1 To | slumber in that | dreamless | bed **j | 

^ From | all | H my | toil. | *j *| | *1 ~] | 

^ For | misery | *1 ~j | stole me | *[ at my | birth, *| | 
**| And | cast me | helpless | ~\ on the | wild : ^ | **] **| | 
^1 1 perish ; | ^ ^] | my | mother | earth, *■] | 

Take | home | ~1 thy | child. | **] *| | 

On thy | dear | lap *"j | these | limbs re- | clined, **j | 
~] Shall | gently | *| M | moulder | ~| into | thee j ~\ | 
*[ Nor [ leave | one | wretched | trace be- | hind, *] | 

1 ^ | ^| Re- | sembling | me. *] | M *| | *j «*| | 

Hark ! , *| | **| a | strange | sound | **J af- 1 frights mine | ear; *"j | **j **] | 

**| My | pulse, | *■* my | brain | runs | wild, | **J I | rave : ^j | 

**| **| | Ah ! | who art | thou whose | voice 1 1 hear? H | **}**| | *\ w| j 

I am the | Grave ! | "1 *1 | *1 *| | 

**j The | Grave, *< | **] (that | never | spake be- | fore,) *\ \ 
*\ Hath | found at | length a | tongue | **] to | chide : **i | 
O | listen ! | **J ~] | I will | speak no | more : [ 

**! **] | **! Be | silent, | Pride. | **| *\ | ^ r | 

Art thou a | wretch, *| | ^ of | hope | **J for- | lorn, *| | 
*| The | victim | *| of con- | suming | care ? *] | **| *| | 
Is thy dis- | tracted | conscience | torn ^| | 

~j By | fell de- | spair ? | -j **] | *j H | 



EXERCISES. 175 

*■] Do | foul mis- | deeds *"| | **] of | former | times **] | 
Wring with re- | morse thy | guilty | breast ? | 
*J And | ghosts | **| of | unfor- | given | crimes | 
Murder thy | rest ? | *! *1 M *1 1 

Lash'd by the | furies of the | mind, H | 

**] From | wrath and | vengeance | ^J would' st thou | flee?^i | **IM | 

Ah ! | think not, | hope not, | fool, ^| | **] to find **| | 

*] A | friend | H in | me. H | *| ~| | *] r| | 

*"j By | all the | terrors of the | tomb, **| | 
*\ Be- | yond the | power of | tongue | ^ to | tell, **j | 
~| By the | dread | secrets of my | womb, **| | 
**! By | death | *\ and | hell ! | 

**{ I | charge thee | live ! | *1 re- | pent and | pray ; **] | 

**j In [ dust thine | infamy de- | plore ; *"] | 

•* There | yet is | mercy ; | *| *■*] | go thy | way, **| | 

**] And | sin *| | *] no | more. | *[ M | H M | 

~] What- | e'er thy | lot, *i | *] who- | e'er thou | be, *1 | 
*1 Con- | fess thy | folly, | *] "] | kiss the | rod, «-| | 
And in thy | chastening | sorrows | see | 

~] The | hand | ^ of | God. ^ | ~] ^ | *j *| | 

**] A | bruised | reed **| \ ~j he | will not | break j ~[ | *] *\ | 
**] Af- | flictions | all his | children | feel ; *\ | M M | 
*[ He | wounds them | **j for his | mercy's | sake, **] | 

~\ He | wounds | *] to | heal ! | *] *-j | HM | 



176 GRAMMAR OF ELOCUTION. 

Humbled be- | neath his | mighty | hand, **j | 
Prostrate, | ^] his | providence a- | dore : | 
*] 'Tis | done ! *| | *j a- 1 rise ! ~j | *| ~j | He | bids thee | stand, *| | 
~] To | fall | ^ no | more. | *J *-| | *| *| | 

Now | traveller in the | vale of | tears ! 

** To | realms of ever- | lasting | light, **] | 

*[ Through | time's | dark | wilderness of | years, ** 

**] Pur- | sue | *|*| thy | flight. ^, | 1 *1 M ^| | 

*] There | is **j | **[ a | calm for | those who | weep, *| \ 
**} A | rest *»] | **| for | weary | pilgrims | found ; | 
*"| **] | **] And | while the | mouldering | ashes | sleep *] | 
Low in the | ground ; | 

^ The | soul, ~] | ~] (of | origin | ^ di- I vine, **] | 
God's | glorious | image), | **] **J | freed from | clay, 
**j In | heaven's | **J e- | ternal | sphere shall | shine, **| | 
*1 A | star | *-| of | day ! | *| **| [ *| H | 

H The | sun | is but a | spark of | fire, *] | *| ~[ \ 
*[ A | transient | meteor | *»| in the | sky, **] | **| **] | 
**] The | soul, | *] im- | mortal | *| as its | sire, **] | 
*| Shall | never | die. | *M | **M | 

Montgomery. 



EXERCISES, 177 



HARVARD COLLEGE. 

*] With- | in a | short | distance of | this | city | stands an 
insti- | tution of | learning, | *j which was | one of the | earliest 
| cares of the | early | forefathers of the | country, | **| the | 
consci- | entious | puritans. | **| **| | Favored | child of an | age 
of | trial and | struggle, | carefully | nursed through a | period 
of | hardship and anx- | iety, | *1 en- | dowed at | that | time 
| *i by the ob- | lations of | men like | Harvard, | **| sus- | 
tained from its | first foun- | dation | *"] by the pa- | ternal | 
arm of the | commonwealth, | ~\ by a | constant sue- | cession 
of mu- | nificent be- | quests, | ^j *"] | and by the | prayers of | all 
| good | men, | ^| the | Uni- | versity at | Cambridge | now 
in- | vites our | homage | **j as the | most j ancient, | **] the 
most | interesting, | *"] and the | most im- | portant | seat of | 
learning | **i in the | land ; | *"| pos- | sessing the | oldest | **| 
and | most | valuable | library; | **] *"] | one of the | largest 
mu- | seums of | mine- | ralogy and | natural | history ; | *[ a 
| school of | law, which | annually re- | ceives into its | bosom 
| more than | one | hundred and | fifty | sons from | all | parts 
of the | Union, | where they | listen to in- | struction from 
pro- | fessors whose | names have be- | come | **] a- | mong the 
most | valuable pos- | sessions of the | land; | H **j | **j a | 
school of di- | vinity. | **] the | muse of | true | learning and | 



178 GRAMMAR OF ELOCUTION. 

piety ; | ^^J | one of the | largest and | most | flourishing | schools 
of | medicine in the | country ; j *| be- | sides | there is a 
general | body of | teachers, | twenty- | seven in | number, 
many of | whose | names | help to | keep the | name of the 
country re- | spectable in | every | part of the | globe where 
science, | learning, and | taste are | cherished; | **| the 
whole pre- | sided over at | this | moment by a | gentleman 
early dis- | tinguished in | public | life by his un- | conquer- 
able | energies | **] and his | masterly | eloquence; | ^ at a 
later | period, by the | unsur- | passed a- | bility | *\ with 
which he ad- | ministered the af- | fairs of our | city, | *| and 
| now in a | green old | age, | full of | years and | honors, | **| 
pre- | paring to | lay | down his | present | high | trust.* | **] 
**| | Such is | Harvard Uni- | versity ; | ^j and as | one of the 
| humblest of her | children, | happy in the | recol- | lection 
of a | youth | nurtured in her | classic re- | treats, | *< I | 
cannot al- | lude to her | **| with- | out an ex- | pression of | 
filial af- | fection and re- | spect. | w | *"1 | 

**] It ap- | pears, from the | last re- | port of the | Treasurer, 
| *\ that the | whole a- | vailable | property of the | Uni- | 
versity, | *"] the | various ac- | cumu- | lations of | more than 
| two | centuries of | gene- | rosity, | **| a- | mounts to | seven 
| hundred and | three | thousand | one | hundred and | seventy- 
| five | dollars. | **| **| | 

Change the | scene, | **j and | cast your | eyes upon an- | 
other | object. | **] There | now | swings | idly at her | moor- 
ings, in | this | harbor, | **| a | ship of the | line, | **| the 0- | 

* Hon. Josiah Quincy. 



EXERCISES. 179 

hio, I carrying | ninety | guns, | finished as | late as | eighteen 
| hundred and ] thirty- | six, | *l for | five | hundred and | 
forty- | seven | thousand | eight | hundred and | eighty- | eight j 
dollars ; | **| re- | paired | only | two years | afterwards, | *1 in 
| eighteen | hundred and | thirty- | eight, | ""j for | two | 
hundred and | twenty- | three | thousand and | twelve | dol- 
lars j | **| with an | armament | **| which has | cost | fifty- [ three 
| thousand | nine | hundred and | forty- | five | dollars ; | *i ^| | 
making an a- | mount of | eight | hundred and | thirty- 1 four 
| thousand | "I *1 1 eight j hundred and | forty- 1 five | dollars,* | 
**] as the | actual | cost at | this | moment | *1 of | that | single | 
ship; | *1 *1 | more than | one | hundred | thousand he- | 
yond | all the a- 1 vailable ac- | cumu- | lations of the | richest 
and | most | ancient | seat of | learning | **] in the | land ! | *| 
*1 | Choose | ye, my | fellow | citizens of a | Christian | state, 
| **] be- | tween the | two | caskets — | **| ^ | that where- | in 
is the | loveliness of | knowledge and | truth, | **| or | that 
which con- f tains the [ carrion j death. | *"i *"] | 

^ I re- | fer | thus par- | ticularly | **] to the 0- | hio, he- | 
cause she | happens to | be in our | waters. | H But in | so | 
doing, I | do not | take the | strongest | case af- | forded by 
our | navy. 1*1*11 Other | ships have ab- | sorbed | still | 
larger | sums. | *1 *1 | *"1 The ex- | pense of the ] Delaware, in 
| eighteen | hundred and ] forty- | two, | *1 had been | one ] 
million | fifty- | one | thousand | dollars. 1*1*11 

*1 Pur- | sue the com- | parison | still | further. | **| The 



* Document No. 132, House of Representatives, 3d Session, 27th 
Congress. 



180 GRAMMAR OF ELOCUTION. 

ex- | penditures | "-] of tlie | Uni- | versity | during the | last 
| year, for the [ general | purposes of the | College, | ^ the 
in- | struction of the | under- | graduates, | and for the | 
schools of | law and di- | vinity, | *| a- | mount to | forty- j 
six | thousand | nine | hundred and | forty- | nine | dollars. 
| **l The | cost of the 0- | hio for | one | year in | service, in | 
salaries, | wages, | *\ and pro- | visions, | **] is | two | hundred 
and | twenty | thousand | dollars; | *"| being | one | hundred 
and | seventy- | five | thousand | dollars | more than the | an- 
nual ex- | penditures | **| of the | Uni- | versity ; | more than 
| four | times as | much. | *] **] | **j In | other | words, | **] for 
the | annual | sum which is | lavished on | one | ship of the | 
line, | **| ^ | four insti- | tutions, like | Harvard Uni- | versity, 
| might he sus- | tained through- | out the | country ! | 

Sumner. 



INDUSTRY NECESSARY TO THE ATTAINMENT 
OF ELOQUENCE. 

^ The I history of the | world | **| is j full of | testimony | ~\ 
to | prove | how | much de- | pends upon | industry ; | **| *1 | not 
an | eminent | orator | ~j has | lived | M , ^ | but is an ex- | 
ample of it. | ^] **] | Yet, in | contra- | diction to | all | this, | 
*1 the | almost | uni- | versal | feeling ap- | pears to | be | h that 
| industry | *| can ef- | feet | nothing; |.*| that | eminence | *| 
is the re- I suit of I accident, I ~j and that | every one | must 



EXERCISES. 



181 



be con- | tent to re- | main | jnst | what he may | happen to | 
be. | *1 ^ | Thus | multitudes, | ~| who | come | forward as | 
teachers and | guides, | ^ *"] | suffer them- | selves to be j 
satisfied | ~] with the | most in- | different at- | tainments, | *l 
and a | miserable | mecli- | ocrity, | **1 with- | out so | much 
as in- | quiring | how they may | rise j higher, | "I ~| | much 
| less | making | any at- | tempt to | rise. 

**j For | any | other | art | they would have | served an ap- 
| prenticeship, | M and would | be a- | shamed to | practice it 
in | public | **j be- | fore they had | learned it. | *"j *"j | *j If | 
any one would | sing, | **j he at- | tends a | master, | ^] and is 
| drilled in the | very | ele- | mentary | principles; | *[ and | 
only | after the | most la- | borious | process | dares to | exer- 
cise his | voice in | public. | **] *"| | This he | does, | though 
he has | scarce | anything to | learn | *"j but the me- | chanical 
| exe- | cution of | what | lies in | sensible | forms be- | fore 
the | eye. | **| M | But the ex- | tempore | speaker, J who is to 
in- | vent as | well as to | utter, | **| to | carry | on an | ope- ( 
ration of the | mind, | **j as | well as to pro- | duce | sound, | 
~] *\ | enters upon the | work with- | out pre- | paratory | dis- 
cipline, | *1 and | then | wonders that he | fails. | **j **] | If he 
were | learning to | play on the | flute | ^| for | public exhi- | 
bition, | *"| what | hours | **] and | days would he | spend | M 
in | giving fa- | cility | *-, to his | fingers, | *l and at- | tain- 
ing the | power of the | swiftest | *| and most ex- | pressive 
exe- | cution I | **] **| | If he were de- | voting him- | self to 
the | organ, | **j **J | what | months and | years would he | 
labor, | that he might | know its | compass, | **] and be | mas- 
ter of its ] keys, and be | able to | draw | out, at | will, | all 
16 



182 GRAMMAR OF ELOCUTION. 

its | various | couibi- | nations of har- | monious | sounds, | **| 
and its | full | richness and | delicacy of ex- | pression ! | **] **| ] 

**j And | yet he will | fancy that the | grandest, | ^ the 
most | various, | **| and | most ex- | pressive of | all | instru- 
ments | **] which the | infinite Cre- | ator has | fashioned, by 
the | union of an | intel- | lectual | soul | *] with the | powers 
of | speech, | *i may be | played upon | *\ with- | out | study 
or | practice. | **] **j | **] He | comes to it | *< a | mere | unin- 
| structed | tyro, | *| and | thinks to | manage | all its | stops, 
| *\ and com- | mand the | whole | compass of its | varied | **[ 
and | compre- | hensive | power ! | **[ he finds himself a | 
bungler | in the at- | tempt, | **j is | mortified | *| at his j 
failure, | '•J and | settles it in his | mind for ] ever | that the 
at- | tempt is | vain. | *{ **J | **] **| | 

**J Sue- | cess in | every | art, J **| what- | ever may | be the | 
natural | talent, | ^ is | always the re- | ward of | industry 
and | pains. | ^j **] | ^j But the | instances are | many, | **] of | 
men of the | finest | natural | genius, | whose be- | ginning 
has | promised | much, | **] but | who have de- | generated | 
wretchedly | as they ad- | vanced, | *1 be- | cause they | 
trusted to their | gifts, | **] and | made | no | efforts | *j to 
im- | prove. | *1 **] | That there have | never | been | other | 
men of | equal en- | dowments with De- | mosthenes and | 
Cicero, | *"! ^ | none would | venture to sup- | pose ; | ~] but | 
who have | so de- | voted them- | selves to their | art, | *| or 
be- | come | equal in | excellence? | **j *■] | **] If | those | great 
| men had | been con- | tent like | others | **| to con- | tiuue 
as they be- | gan, | ^ and had | never | made their | perse- | 
vering | efforts for im- | provement, | ^J **] | what would their 



EXERCISES. 



183 



| countries have | benefited | **| from their | genius, | 1 or the 

| world have | known of their | fame? | **l ^ | They would 

have been | lost in the | undis- | tinguished | crowd | H that 

sunk to ob- | livion a- | round them. | **| **| | 

H. Ware. 



TO THE URSA MAJOR. 

w With | what a | stately and ma- | jestic | step | 

**] That | glorious | constel- | lation of the | north | 

Treads its e- | ternal | circle ! | going | forth 

Its | princely | way a- | mongst the | stars, | *< in [ slow 

And | silent | brightness ! | **| **J | Mighty one, [ all | hail ! | 

^J I | joy to | see thee | on thy | glowing [ path | 

Walk like some | stout and | girded | giant, | **| **J | stern. | 

"*] Un- | wearied, | ^j **| | resolute, | **J whose | toiling | foot 

Dis- | dains to | loiter on its | destined | way. | **| **| | 

**] The | other | tribes for- | sake their | midnight | track, | 
**| And | rest their | weary | orbs be- | neath the | wave ; | 
*"] But | thou dost | never | close thy | burning | eye, | 
*< Nor | stay thy | steadfast | step. | **] But | on, | still | on ! | 
**j While | systems | change and | suns re- 1 tire, | **| and | worlds | 
Slumber and | wake, | **} thy | senseless | march pro- | ceeds. 
*"J The | near ho- | rizon | tempts to | rest in | vain. | **J **| | 
Thou, | faithful | sentinel, [ **| dost | never | quit 



184 GRAMMAR OF ELOCUTION. 

Thy | long ap- | pointed ] watch : | **] But, | sleepless | still, j 
*| Dost | guard the | fixed [ light | *] of the | universe, | 
**] And | bid the | north for- | ever | know its | place. 

Ages have | witnessed | thy de- | voted | trust, | 

Un- 1 changed, I"*] un- 1 changing. | *"] ^ | When the | sons of | God | 

*] Sent | forth that | shout of | joy which | rang through | heaven, | 

^ And | echoed from the | outer | spheres that | bound 

The il- | limitable | universe, | **j **] | thy | voice | 

Joined the | high | chorus ; | **] from | thy | radiant | orbs | 

**| The | glad | cry | sounded, | **| **| | swelling to | his | praise | 

*| Who | thus had | cast an- | other | sparkling | gem, | 

Little but ] beautiful, | *"} a- | mid the | crowd 

Of | splendors that en- | rich his | firmament. 

As thou art | now, | so wast thou | then | *] the | same. 

Ages have | rolled their | course ; | **j and | time grown | gray j | 
**l The | seas have | changed their | beds ; | **| the e- 1 ternal | hills 
Have | stoop'd with | age; | ^ the | solid | continents | 
*"| Have | left their | banks ; | ^ and | man's im- 1 perial | works, | 
*"] The | toil, | pride, | strength of | kingdoms,^ which had | flung 
Their | haughty | honors in the | face of | heaven, | 
^J As | if im- | mortal, | *] *\ | have been | swept a- | way, | **J **] | 
Shattered and | mouldering, | **j **] | buried and for- | got. | **| **| | 
*1 But | time has | shed | no | dimness on | thy | front, | 
"*] Nor | touch' d the | firmness of thy | tread; | **| *1 | youth, | 

strength, 
And | beauty | still are | thine, | ^ as | clear, | **| as | bright | 
**| As | when the Al- 1 mighty | Former | sent thee | forth, | *] ~\ | 



EXERCISES. 185 

Beautiful | offspring of his | curious | skill, | 

**l To | watch | earth's | northern | beacon, | **[ and | pro- 1 claim | 

**] The e- | ternal | chorus of e- | ternal | love. 

^ I ] wonder | H as I | gaze. | ^| **| | That | stream of | light, | 
^1 Un- | dimmed, | **J un- | quenched, | **| *l | just as I [ see 

thee | now, | 
**] Has | issued from | those | dazzling | points through | years | 
^ That | go back | far into e- 1 ternity. | ^ ^ | ~] *| | 
*]Ex- | haustless | flood ! | *°i for | ever | spent, | **| re- | newed 
For | ever ! | **| **] | yea, | *i and | those re- | fulgent | drops, 
Which | now de- | scend upon my | lifted | eye, | 
Left there | far | fountains | twice three | \ears a- | go. | ^^ | 
While | those | winged | particles, whose | speed out- | strips 
The | flight of | thought, | *J were | on their | way, | *] the | earth | 
Compassed its | tedious | circuit | round and | round ; | 
**} And | in the ex- | tremes of | annual | change be- | held | 
Six | autumns | fade, | six | springs re- 1 new their | bloom : | **] *"| | 
So | far from | earth those | mighty | orbs re- | volve ! | 
**| So | vast the | void through | which their | beams de- | 

scend • | *1 *1 I "1 *1 I 

**\ Ye | glorious | lamps of | God, | He may have | quenched 
Your | ancient | flames, | *i and | bid e- | ternal | night | 
Rest on your ] spheres, | *"| and | yet no | tidings | reach 
This | distant | planet. | *"J *i | Messengers | still | come, | 
Laden with | your | far | fire, | and we may | seem 
To | see your | lights | still | burning ; | while their | blaze 
But | hides the | black | wreck | **] of ex- 1 tinguished | realms, | 
16* 



186 GRAMMAR OP ELOCUTION. 

**| Where | anarchy and | darkness | long have | reigned. 
**| Yet | what is | this, | which, to the as- | tonished | mind, 
Seems | measureless, | **] and | which the | baffled | thought 
Con- | founds ? | "*| a span, | **| a point in | those do- | mains, | 
| M **| | Which the | keen | eye can | traverse. | **| ^] | Seven | stars | 
Dwell in that | brilliant | cluster, | **J and the | sight 
Em- | braces | all at | once ; | **j yet | each from | each 
Re- | sides as | far as | each of | them from | earth, | **] **] | 
*] And | every | star from | every | other | burns | 
No | less re- | mote. | *1 **] | **! *1 | From the pro- | found of | 

heaven, | 
Un- | travelled | e'en in | thought, | keen | piercing | rays | 
Dart through the | void, re- | vealing to the | sense | 
Systems and | worlds un- | numbered. | **| **| | Take the | glass, | 
^And | search the | skies. | w ] ,w ] |**|The | opening | skies pour | down 
Upon your | gaze | thick | showers of | sparkling | fire. | 
Stars | crowded, | **| *\ | thronged | **| in | regions [ so re- 1 mote, | 
**| That their | swift | beams, | *"| the | swiftest | things that | be, | 
*"] Have | travelled | centuries on their | flight to | earth. | *\ *»j | 
Earth, | sun, and | nearer | constel- | lations, | what 
Are | ye a- | mid this | infinite ex- | tent, 
And | multitude of | God's | most | infinite | works • | *1 *1 1 *1 *1 1 

**] And | these are | suns ! | ^ *■] | vast, | central, | living | 

fires, | ~\ ~j | 
Lords of de- | pendent | systems, | *\ **| | kings of | worlds, 
~] That | wait as | satellites | *| upon their | power, | 
**| And | flourish in their | smile. | *] A- | wake, my | soul, 
**l And | meditate the | wonder ! | **| *] | Countless | suns | 



EXERCISES. 187 



Blaze | round thee, | leading | forth their | countless | worlds ! 
| *] **! 1 Worlds in whose | bosoms | living | things re- | joice, 
~| And | drink the | bliss of | being | **] from the | fount 
Of ] all per- | vading | love. 



What | mind can | know, | *"] ^ | 
What | tongue can | utter | all their | multitudes I | **| *[ \ 
Thus | numberless, | *| in | numberless a- | bodes ! | **] **| | 
Known but to | thee, | blest | Father ! | thine they | are, | 
Thy | children and thy | care; | ^J and | none o'er- | look'd 
Of | thee ! | *] **I | No, | not the | humblest | soul that | dwells 
A- | mid the | giant | glories of the | sky, | 
Like the | mean | mote that | dances in the | beam, 
**j A- | mongst the | mirrored | lamps which | fling 
Their | wasteful | splendor from the | palace | wall, | **] **| | 
None, | none es- | cape the | kindness of | thy | care; | *"} *"| \ 
All | compassed under- | neath thy | spacious | wing, | 
Each | fed and | guided by | thy | powerful | hand. | **] **j | M **] | 

Tell me, | **] ye | splendid | orbs, | as .from your | throne 
Ye [ mark the | rolling | provinces that | own 
Your | sway, [ *"! what | beings | fill those [ bright a- | bodes ? 
*"] How | formed, | *] how | gifted ? | **| ^ | what their | powers, 

| *•{ their | state, | 
**1 Their | happiness, | "*] their | wisdom ? | **| **| | **| do they | 

bear 
The | stamp of | human | nature ? | **| **J | or has | God | 
Peopled those | purer | realms with | lovelier | forms 
And | more ce- | lestial | minds? | **] Does | innocence | 



188 GRAMMAR OP ELOCUTION. 

Still I wear her | native and un- | tainted | bloom ? | *" ~ | 

Or has | sin | breathed his | deadly | blight a- | broad, | 

M And | sowed cor- | ruption | **| in those | fairy | bowers ? | 

*"{ Has ] war trod | o'er them | h with his | foot of | fire ? | 
*"] And | slavery | forged his | chains, | **| and | wrath, | *"j and 

| hate, | 
"■"I And | sordid | selfishness, | **] and [ cruel | lust, | 
Leagued their [ base | bands to | tread out | light and | truth, ( 
**j And | scattered | woe where | heaven had | planted | joy? | 
*] Or | are they | yet | all | paradise, | **] un- | fallen, 
And | uncor- | rupt ? | w ; ex- | istence | one | long | joy, — 
"*] With- | out dis- | ease upon the | frame, or | sin 
Upon the | heart, or | weariness of | life, | **] **| | 
Hope | never | quenched, | ^ and | age un- | known, | 
**] And | death un- | feared ; | **j while | fresh and | fadeless | 

youth | 
Glows in the | light from | God's | near | throne of | love ? | *1 H . I 

Open your | lips, ye | wonderful and | fair ! | 

Speak, | speak ! | **] the | mysteries of | those | living | worlds 

Un- | fold ! | m ^j | No | language ? | *| **| | Ever- | lasting | light 

And | everlasting | silence ? | **| **| | Yet the | eye 

May ( read and | under- | stand. **] The | hand of | God | 

*"j Has | written | legibly what | man may | know, | 

*| The | glory of the | Maker. | ^ ~j | There it | shines, 

^i In- | effable, | *| un- | changeable j | **] «| | *\ and | man, | 

Bound to the | surface of this | pigmy J globe, | 

*>1 May | know and | ask no | more. 



EXERCISES. 189 

*1 In | other | days, | 
**J When I death shall | give the en- | cumbered | spirit | 

wings, | 
*| Its | range shall be ex- | tended ; | *] it shall | roam, 
Per- | chance, a- | mong those | vast mys- | terions | spheres ; | 
**| Shall [ pass from | orb to | orb, | ^ and | dwell in | each, 
M Fa- | miliar with its | children ; | **| ^ | learn their | laws, 
M And | share their | state, | **| and | study and a- | dore 
The | infinite va- | rieties of | bliss 

And | beauty, | ^ by the | hand of | power di- | vine, | ^ **J | 
Lavished on | all its | works. 

~] E- | ternity | 
M Shall | thus | roll | on with | ever | fresh de- | light ; | **j *| | 
No | pause of | pleasure or im- | provement ; | **] **] | world 
On | world [ still | opening to the in- | structed | mind 
An | unex- | hausted | universe ; | **| and | time 
But | adding to its | glories j | **j **| | while the | soul, 
*"! Ad- | vancing | ever to the | Source of | light 
And | all per- | fection, | *\ **j | lives, | *| a- | dores, | *| and 

I reigns, | 
^1 In | cloudless | knowledge, | purity, and | bliss. | 

H. Ware, Jr. 



190 GRAMMAR OF ELOCUTION. 



HYMN TO THE DEIT1. 

These, | *] as they | change, | M **] | Al- 1 mighty | Father, | these | 
Are but the | varied | God. | *l The | rolling | year 
Is | full of | thee. | **] **] | Forth in the | pleasing | Spring | 
*1 Thy | beauty | walks, | *"] thy | tenderness and | love. | *j **| | 
Wide | flush the | fields ; | *[ the | softening | air is | balm ; | 
| **| **] I Echo the | mountains | round ; | *| the | forest | smiles ; | 
**j And | every | sense and | every | heart is | joy. | **] **j | 

Then | comes thy | glory in the | summer | months, | 
« With | light and | heat re- | fulgent. | «| *| | Then thy | sun | 
Shoots | full per- | fection | through the | swelling | year j | 
^| And | oft thy | voice in | dreadful | thunder | speaks ; | 
^] And | oft at | dawn, | deep | noon, or | falling | eve, | 
**j By | brooks and | groves, in | hollow-whispering | gales. | 

M Thy | bounty | shines in | Autumn | uncon- | fiued, | 
*] And | spreads a | common | feast for | all that | live. | 
*| In | winter, | awful | thou ! | **| with | clouds and | storms 
A- | round thee | thrown, | **] ^ | tempest o'er | tempest | rolled, | 
** Ma- | jestic | darkness ! | ~] on the | whirlwind's | wing, | 
Riding sub- | lime | ~j thou | bidst the | world a- | dore ; | 
*| And | humblest | Nature with thy | northern | blast. | 



EXERCISES. 191 

**] Mys- | terious | round ! | **| what | skill, | **J what | force di- 1 

vine, | 
Deep | felt, in | these ap- | pear ! | **1 a | simple | train, | 
•J Yet | so de- 1 lightful | mixed, | H with | such | kind | art, | 
*l Such | beauty and be- | neficence com- | bined : | *"| **J \ 
Shade | unper- | ceived | so | softening into | shade, | 
*"] And | all | so | forming an har- | monious | whole, | *' i *< | 
That, as they | still sue- | ceed, | **] they | ravish | still. | ^ *"j | 

*"j But | wandering | oft, with | brute, un- | conscious | gaze, | 
Man | marks not | thee ; j **] **j | marks not the | mighty j hand | 
^j That, | ever | busy, | wheels the | silent | spheres, | *"| ^ | 
Works in the | secret | deep, | **j **| | shoots | teeming | thence | 
*"j The | fair pro- | fusion that o'er- | spreads the | spring, | 
Flings from the J sun di- | rect J H the j naming | day, | , "1 **j | 
Feeds | every | creature, | *1 *"! | hurls the j tempest | forth, | **| **J | 
And as on | earth this | grateful | change re- | volves, | 
**] With | transport | touches | all the [ springs of | life. | **] **J | 

Nature at- | tend ! | **] **l | join | every | living | soul | 

**| Be- | neath the | spacious | temple of the | sky, | 

*"j In | ado- | ration | join, | *i and | ardent | raise | 

One | general | song ! | **] To | him, ye | vocal | gales, | 

^1^] | Breathe | soft, | *\ whose | spirit in your | freshness | 

breathes : | *"} *1 | 
| talk of | him in | solitary | glooms, | **J **j | 
Where | o'er the | rock | *"1 the | scarcely j waving | pine 
Fills the | brown | shade | **] with a re- | ligious | awe. | *■*] *"] | 
*"j And | ye whose | bolder | note is | heard a- | far, | 



192 GRAMMAR OF ELOCUTION. 

~| Who | shake the as- | tonished | world, | *[ *| | lift | high 

to | heaven | 
**| The im- | petuous | song, | **] and | say from | whom you | 



His | praise, ye | brooks, at- | tune, | *1 ye | trembling | rills, | 
^| And | let me | catch it | **| as I | muse a- | long. | **J **} | 
*"1 Ye | headlong | torrents, | rapid and pro- | found j j *■( *| | 
**] Ye | softer | floods that | lead the | humid | maze 
A- | long the | vale; | *"] and | thou, ma- | jestic | main, | 
*"j A | secret | world of | wonders in thy- | self, | **j **| | 
Sound | his stu- | pendous | praise, | *] whose | greater | voice, | 
**i Or | bids you | roar, |**| or | bids your | roarings | cease. | *i **| ] *"j M | 

Soft | roll your | incense, | herbs, and | fruits, and | flowers, | 
**| In | mingled | clouds to | him whose | sun ex- | alts ; | 
**| Whose | breath per- 1 fumes you,|**j and whose | pencil | paints. | 
**1 Ye | forests, | bend; | **] ye | harvests, | wave to | him ; | 
Breathe your | still | song into the | reaper's | heart, | 
**| As | home he | goes be- | neath the | joyous | moon. | **| **| | 

Ye that keep | watch in | heaven, [ **| as J earth a- | sleep | 
*1 Un- | conscious | lies, | **{ ef- 1 fuse your | mildest | beams ; I 
**| Ye | constel- | lations, | while your | angels | strike 
A- | mid the | spangled | sky the | silver | lyre. | *\ *| | 
Great | source of | day ! | blest | image | here be- | low 
~] Of | thy Ore- | ator, | ^ ^ | ever | pouring | wide, | 
**| From | world to | world the | vital | ocean | round, | 
^ On | Nature | write with | every | beam | his | praise. | *| ^ | 



EXERCISES. 193 

**} Ye | thunders | roll ; | *\ be | hushed the | prostrate | world, | 
*| While | cloud to | cloud re- 1 turns the | solemn | hymn. | **| **j | 
Bleat | out a- | fresh, ye | hills ; | ^ ye | mossy | rocks, | 
**] Re- | tain the | sound ; | *| the | broad re- | sponsive | low, ] 
*+. Ye | valleys, | raise, | ~j for the | Great | Shepherd | reigns, | 
^ And | his un- | suffering | kingdom | yet will | come. J ^ **} | 
*i Ye | woodlands, | all a- | wake; | **] a | boundless | song | 
Burst from the | groves : | ""j and | when the | restless | day, 
Ex- | piring, | lays the | warbling | world a- | sleep, | ** **] | 
Sweetest of | birds, | **| **| | sweet | Philo- | mela, | charm 
The J listening | shades, and | teach the | night | his | praise. | **|H | 

**i Ye | chief, for | whom the | whole ere- | atioa | smiles, | 
*j At | once the | head, | **] the | heart, | ^j the | tongue of | 

all, | ^^ | 
Crown the | great | hymn. | *f "*] | ^ In | swarming | cities | 

vast, | 
**| As- | sembled | men | **| to the | deep | organ | join 
The | long re- | sounding | voice, j w | *"! | oft | breaking | clear, 
At | solemn | pauses, | through the | swelling | bass. | *"] H | 
**| And as | each | mingling | flame in- | creases | each, | 
M In | one u- | nited | ardor | rise to | heaven. | **! ""j | 
Or, if you | rather | choose the | rural | shade, | 
**! And | find a | fane in | every | sacred | grove, | **i *1 | 
There let the | shepherd's | flute, | **j the | virgin's | lay, | 
**| The | prompting | seraph | **J and the | poet's | lyre, 
Still | sing the | God of | seasons, | ^ as they | roll. | M**j | M*j j 
**] For | me, | **| when | I for- | get the | darling | theme, | *1 **l | 
Whether the | blossom | blows, | **J the | summer | ray | 

17 



194 GRAMMAR 01' ELOCUTION. 

Russets the | plan, | ^ in- | spiring | autumn | gleams, | 
**J Or | winter | rises in the | blackening | east, | **| **| \ 
^ Be | my | tongue | mute, | *j my | fancy | paint no | more, 
*J And, | dead to | joy, | **| for- 1 get my | heart to | beat ! | **}*»] | 
**j Should | fate com- | mand me | ^ to the | farthest | verge 
Of the | green | earth, | ~] to | distant, | barbarous | climes, | *|*»| 1 
Rivers un- | known to | song, | *•] where | first the | sun | 
Gilds | Indian | mountains, | "*] or his | setting | beam | 
Flames on the At- 1 lantic | isles, | **| **j | **! 'tis | nought to | me, 
*] Since | God is | ever | present, | ^] **] | ever j felt \ | Mf| | 
*| In the | void | waste | *| *| | as in the | cities | full : | *| *] | 
w . And | where | He | vital | breathes | *1 ^] | there | must be | 

**j When | e'en at | last the | solemn | hour shall | come, | 

**| And | wing my | mystic | flight to | future | worlds, | 

M I | cheerful | H will o- | bey ; | ~j m | There, with | new | 

powers, | 
*\ Will | rising | wonders | sing : | ~] I | cannot | go 
**| Where | uni- | versal | love | smiles not a- | round, | 
*"i Sus- | taining | all yon | orbs | **J and | all their | suns; | 
**J From | seeming | evil [ still e- | ducing | good, | 
^j And | better | thence a- | gain, and | better | still, | 
*1 In | infinite pro- | gression. | *\ **] | **] But I | lose 
My- | self in | Him, | **j ~] | *1 in | light in- | effable ! | *| *J | 
Come, | then, ex- | pressive | Silence, | ^ ^, | muse His | praise. 

Thomson. 



EXERCISES, 195 



WARREN'S ADDRESS. 

1. Stand ! | *] the ground's your | own, my | braves, 
Will ye | give it | up to ] slaves ? | *} *{ | 

Will ye | look for | greener | graves ? | *| H | 

Hope ye | mercy | still ? | *J ^ | *| *| | 

What's the | mercy | despots | feel ? | *j *J | 

Hear it in | that | battle | peal ! 1*1*11 

Read it on | yon | bristling | steel ! | *] *] | 

Ask it | *| ~] | ye who | will. | *] *] | *1 *] | 

2. Fear ye | foes who | kill for | hire ? | *] *j | 
Will ye to your | homes re- | tire ? | *] *! | 
Look be- | hind you ! ] *"1 they're a- | fire ! | 

*j And be- | fore you, | see | 
Who have | done it ! | — *1 From the | vale | 
On they | come ! | — *| and | will ye | quail ? — | *"] ^ | 
Leaden | rain and [ iron | hail | 

Let their | welcome | be ! | *] *! | *! *] | 

3. ^ In the | God of | battles | trust ! | *| *} | 
Die we | may | — *] and | die we | must; | *] *j | 
*| But, | 0, | where can | dust to | dust | 

Be con- j signed | so j well, 



39<j GRAMMAR OF ELOCUTION. 

**1 As | where | heaven its | dews shall | shed, | 

~J On the | martyred | patriot's | bed, | 

**] And the | rocks shall | raise their | head, | 

*-J Of | his i deeds to | tell ? | ~, ~ | *] *] \ 

PlERPONT. 



CHAPIN ON REFORM. 

**J The I great | element of re- | form | ^ is | not | born 
of | human | wisdom. | **| it | does not | draw its | life from | 
human | organi- | zations. | **| **| | **J I | nn d i* | only in Chris- ] 
tianity. | ~{ *| | ~] ^} | " Thy | kingdom | come !" | ~ There | 
is a sub- | lime and | pregnant | burden | **| in | this | prayer. | 
It is the | aspi- | ration of | every | soul that | goes | forth in 
the | spirit of re- | form. | **> For | what is the sig- | nificance 
of | this | prayer ? | ~| ~j | ^ ~J \ ~i It | is a pe- | tition that | 
all | holy | influences | *] would | penetrate, | **j and sub- | 
due | *"| and | dwell in the | heart of | man, | **j un- | til he 
shall | think, | **j and | speak, | *i and | do | good, | *| from the j 
very ne- | cessity of his | being. | *\ **\ | **] *] | So would the | 
insti- | tutions of | error and | wrong | crumble and | pass 
a- | way ; | ^ ~] | so would | sin | die out | *\ from the | earth ; | 
**| and the | human | soul | living in | harmony | **j with the di- | 
vine | will, | ^j^, | this | earth would be- | come like | heaven. 
| •»] ^ | **j h | **| It is | too | late for the re- | formers to | sheer 
at Chris- | tianity; | **j it is | foolishness for | them to re- | 



EXERCISES. 197 

ject it. | In it are en- | shrined our J faith in | human | pro- 
gress, | ^J our | confidence in re- | form. | **] It is in- | dis- 
solubly con- | nected with | all that is | hopeful, | spiritual, | 
capable, in | man. | **}*"! | **] That | men have | misunder- | stood 
it, j *"] and per- | verted it, | M is | true. | *] **j | But it is | also | 
true that the | noblest | efforts for | human melio- | ration | **| 
have come | out of it, | ~j have been | based up- | on it. | **j *1 1 
**] *i | Is it | not so ? | **] **] | **j H | Come, ye re- | membered | 
ones, | *[ who | sleep the | sleep of the | just, | **| **] | **] who | 
took your | conduct | *"| from the | line of | Christian phi- | loso- 
phy, j **| **] | come from your | tombs and | answer I | ^1*11 *1 *1 I 
Come, | Howard, | **] from the | gloom of the J prison, | *"1 and 
the | taint of the | lazar-house, | **] and | show us | what phi- | 
lanthropy can | do | **] when im- | bued with the | spirit of | 
Jesus. | *1 1 M *1 | Come, | Eliot, | ^ from the | thick | 
forest, | ^] where the | red man | listens to the | word of | life ) 
| M *"] | come, | Penn, from thy | sweet | counsel and | weapon- 
less | victory, | **j and | show us what | Christian | zeal and | 
Christian | love can ac- | complish | **] with the | rudest bar- | 
barians, | **j or the | fiercest | hearts. | M ^ | *] H j Come, | 
Raikes, | **] from thy | labors with the | ignorant and the | poor, 
] **] and [ show us with | what an | eye this | faith re- | gards 
the | lowest and | least of our | race ; | ^ **] [ *1 *1 I *1 an( * I 
how | diligently it | labors, | not for the | body, | not for the 
| rank, | ^ ^ | but for the | plastic | soul | *"| that is to | crown 
the | ages of | immor- | tality. | "*j *] | *"j *"] | 

**] And | ye, | *| who are a | great | number; | *j ~j | ye | 
nameless | ones, | ^ who have | done | good in your | narrow | 
spheres, con- | tent to fore- | go re- | nown on | earth, | **i 
IT* 



198 



GRAMMAR OF ELOCUTION. 



and | seeking your re- | ward in the | record on | high, | *1M?| 
come and | tell us how | kindly a | spirit, | *| how | lofty a 
purpose, | ~j or how | strong a | courage, | ^ the re- | ligfot) 
ye pre- | ferred can | breathe into the | poor, | *| the | humble, 
and the | weak. | *"] ~| | *1 *1 | G-o | forth, then, | spirit of 
Chris- | tianity, | **| to thy | great | work of re- | form 1 1 *j *j | 
**] The | past bears | witness to thee | *| in the | blood of 
thy | martyrs, | ^ and the | ashes of thy | saints and | heroes ; 
| *j the | present is | hopeful be- | cause of thee; | **] the | 
future shall ac- | knowledge thy om- | nipotence. | *| M | *| *| | 



NINTH CHAPTER OF JOHN. 

And as | Jesus | passed | by, ^! | **j he | saw a | man which 
was | blind from his | birth. | **} **| | *"] w j | And his dis- | 
ciples | asked him, | saying, | Master, | who did | sin, *»| 
this | man, | *] or his | parents, | that he was | born h | 
blind? | **j *1 | *1 *1 | Jesus | answered, | Neither hath | 
this | man | sinned, | nor his | parents : | **j **} | but that the 
| works of | G-od | *"J should be | made **| | manifest in him. 
*1 *1 I *1 *1 I I must I wor k tne I works of | him that | sent 
me, | while it is | day : | **] **] | *1 the | night | cometh, | *\ 
when | no *] | man | can **] | work. **| | ^j **j | **] **j | **| As | long | 
*"| as | I am in the | world, *] 1 1 am the | light of the | world. 
^ *1 I *1 *1 I When he had | thus ^ | spoken, | **] he | spat on 



EXERCISES. 199 

the I ground, **] | **| and | made | clay | h of the | spittle, | **| **| \ 
and he a- | nointed the | eyes **| \ **j of the | blind man | H 
with the | clay, <"] | **] and | said unto him, | Go, ~| | wash in 
the | pool of | Siloam, | **J *"| | (which is, by in- | terpre- | ta- 
tion, | Sent.) [ *[ M | **j *| | **] He | went his | way, | therefore, 
| r| and | washed, | w j and | came | seeing. | *1 *1 | *1 ^1 | 

rj The | neighbors, | therefore, | **] and | they which be- | 
fore had | seen him, | that he was | blind, | ^ **j | said, **| | 
Is not | this ^ ] he that | sat and | begged ? | **| ^j | *j S| | 
Some | said, *"j | This | is j he ; | **| •} | others | said, ""J | He 
is | like him : | **| ~j | *[ but | he | said, | ~| I | am | he. | *| 
*1 I *1 *1 I Therefore | said they unto him, | ^ *"j | How | were 
thine | eyes | opened ? | **j *1 | **1 "I | **j He | answered and | 
said, | *| A | man | **] that is | called | Jesus, | made | clay, | 
**] and a- | nointed mine | eyes, ^] | *"j and | said unto me, | Go 
to the | pool of | Siloam, | *| and | wash : ~j | ~| «j | H and I | 
went and | washed, | **| and I re- | ceived | sight. | "*j **] | *»] **1 
| Then | said they unto him, | *1 *1 | Where | is he ? | *| **J | 
^ He | said, **| | *; I | know not. | ^ *] | ^ **J | 

**j They | brought to the | Pharisees | him that a- | foretime 
was | blind. | ~] ~j | And it was the | Sabbath | day ~J | *] 
when | Jesus | made the | clay, | *\ and | opened his | eyes. | 
*1 *1 1 ""I w i I Then a- | gain the | Pharisees | also | asked him 
| how he had re- | ceived his f sight. | **] **i | *1 He | said unto 
| them, | **| He | put **] | clay^ | ^ upon mine | eyes, | *"| and 
I ] washed, | and do | see. | *1 m | *fj **j | Therefore said | some 
of the | Pharisees, | ^ This | man is | not of | God, | **| be- | 
cause | ^ lie | keepeth | not the | Sabbath | day. | **1 *"j | Others 
| said, **] | How can a | man that is a | sinner | do such | 



200 GRAMMAR OF ELOCUTION. 

miracles? 1*1*11*1 And | there was a di- | vision a- | mong 
them. | *1 *1 | *1 *1 | *1 They | say unto the | blind | man a- | 
gain, ^ | ** *| | What | sayest | thou of him ? | that he hath | 
opened thine | eyes ? | *1 *1 | **j He | said, *1 | He is a | pro- 
phet. 1111^,1 

**| But the | Jews | did not be- | lieve con- | cerning him | 
**i that he | had been | blind, | **j and re- | ceived his | sight, 
| **] un- | til they | called the | parents of | him that had re- | 
ceived his | sight. | *1 *1 | *1 And they | asked them, | saying, 
| **| *1 | Is | this your | son, | who ye | say | *\ was | born | 
blind ? *1 | **| **| | how | then *| | doth he | now **. \ see ? «| | *] 
*1 I '"1 *1 I *1 ^ s I P arents | answered them, | *1 and | said, | 
*1 *1 I *1 ^ e I know that |. this is our | son, **| | and that he 
was | born | blind : *1 | *1 *1 | But by | what *| | means | "*] he 
| now | seeth, | **| we | know | not; **| | **| or | who hath 
opened his | eyes, | *] we | know not : | *1 ^ | he is of | age, **i 
| ask | him, **] | he shall | speak for him- | self. *1 1 *1 *1 1 **|*1 

These | words *1 | spake his | parents, | *"j be- | cause they 
| feared the | Jews : | *1 *1 | *1 for the | Jews had a- | greed 
al- | ready, | that if | any man | **| did con- | fess that he was 
| Christ, | *•] **| | he should be | put | out of the | synagogue. 
I *1 *1 I "1 *1 I Therefore | said his | parents, | He is of | age, 
~| | ask *| | him. **| | ~] ^ | M *| | 

Then a- | gain **| | called they the | man that was | blind, | 
**} and | said unto him, | **M | Give **] | God the | praise : | ** we 
| know that | this **] | man ^ | **j is a | sinner. | *1 *1 | *1 *1 | 
*1 He | answered and | said, **| | Whether he | be a | sinner or | 
no, **| | "*] I | know not; | *1 *1 | one | thing I | know, | ^ 
that, where- | as T | was *| | blind, *", | w ; ~\ | now | ~ I | 



EXERCISES. 201 

see. | **I *1 | **] **1 | Then **■ [ said they | to him a- | gain, **| | 
What | did he | to thee '( \ *| **] | How **[ | opened he thine | 
eyes ? ( **| **] | **| *"| | **| He | answered them, | ""J I have | told 
you al- | ready, | **| and ye | did not | hear : | **] """j ] where- 
fore | would ye | hear it a- | gain ? | *■*] **] | **| Will | ye | also | 
be his dis- | ciples? | *1 ^ | **! ^ | Then they re- | viled him, 
| *"} and | said, | Thou art | his dis- | ciple j | **] but | we are | 
Moses' dis- | ciples. | *| «"| | *| *\ | r] We | know that | God "\ 
| spake unto | Moses : | **| **| | as for | this *\ | fellow, | *| we | 
know not from | whence he | is. | *1 r] | **j **] | **} The | man | 
answered and | said unto them, | *] **] | Why, **] | herein | *»] 
is a | marvellous | thing, | *1 that ye | know not from | whence 
he | is, **] | ^ and | yet he hath | opened mine | eyes. | *1 *"] | 
**] *[ | Now we | know that | God **| | heareth not | sinners : | 
*"1 *\ | but if | any man | be a | worshipper of | God, ^ | **J 
and | doeth his | will, **| | him he | heareth. | ■■ **| *"} | ^j .*| | 
Since the | world be- | gan M | was it not | heard | **] that | 
any man | opened the | eyes of | one that was | born *| | blind 

*1 I *1 *1 I *1 -^ I tG ^ s I man were I not °f I ^°^ I *1 ne could 
| do | nothing. | M *] | **| **] | *] They | answered and | said 
unto him, | **| **| | Thou wast | alto- | gether | born in | sins, 
| **| and dost | thou | teach **] | us ? | **] "*] | And they | cast 
him | out. | **j **j | ^ *"] | 

Jesus | heard that they had | cast him | out ; **] | **| and | 
when he had | found him, | **] he | said unto him, | **] **| | 
Dost thou be- | lieve on the | Son of | God ? | ^! *1 I *1 **! I *1 
He | answered and | said, ^ | Who | is he, | Lord, | **J **] | 
that I | might be- | lieve on him ? | -**] ~j } M **||f *j And | 
Jesus | said unto him, | *1 > 1 T ^1 Thou hast | both | seen him, 



*^02 GRAMMAB OF ELOCUTION. 

| ^1 ^ | and it is | he that | talketh with thee. | "\ ~ | *] ^ | »| 
And he | said, **| | Lord, | *j I be- | lieve. | *| *< | *| And he | 
worshipped him. | **| **! | *| **| | 

*| And | Jesus | said, ~] | •*] *j | *| For | judgment | ^ I 
am | come into this | world ; | **] •] | *] that | they which | see 
| not | might *"] | see, *] | and that | they which | see ^ | 
might be | made | blind. | **] "] | ** **| | *»j And | some of the | 
Pharisees | **| which were | with him | heard these | words, | 
*J and | said unto him, | *] *] | **] Are | we | blind | also ? | **,*f 
| *"] *] | Jesus | said unto them, | **] **| | If ye were | blind, **] | 
^1 *1 | ye should have | no **j | sin : | **j *] | ^ but | now ye | 
say, **} | *i We | see ; | **| *| | therefore | *] your | sin re- | 
maineth. H*1h*l| 



EXTRACT FROM COWPER'S "TASK." 

~j Ac- | quaint thyself with | God, M | *| *| \ if thou would' st 

| taste *] | 
*| His | works. | »"j **| | *[ Ad- | mitted | once to | his em- | 

brace, **] | 
Thou shalt per- | ceive **] | that thou wast | blind be- | 

fore : | *| ^ | 
*| Thine | eye shall be in- | structed; | *"| "", | and thine | 

heart ~| | 
Made *| | pure, | *] shall | relish with di- | vine de- | light **| | 



EXERCISES. 203 

•J Till | then un- | felt, **| | **j what | hands di- | vine have | 

wrought. | "*j **j | 
Brutes | graze the | mountain | top, | ^ with | faces | prone | 
^| And | eyes | **] in- | tent upon the | scanty | herb **| | 
*\ It | yields them ; | **j *1 | or, re- | cumbent on its | brow, rj | 
Ruminate, | *< **j | heedless of the | scene out- | spread **] | 
**] Be- | neath, | **| be- | yond, ^| | **] and | stretching | far a- | 

way ^ | 
**| From | inland | regions | **] to the | distant | mam. | ^}'*|| *1*T| 
Man | views it, | **j and ad- | mires; | *| **| | **] but | rests 

con- | tent **| | 
**| With | what he | views. | **j ^ | **] The | landscape | has 

his | praise, | 
*| But | not its | Author. 1*1*11 Uncon- | cerned *i j who | 

formed *] | 
*| The | paradise he | sees, | *| he | finds it | such, *| | 
*j And | such **j | well | pleased to | find it, | **| *] | asks no | 

more. M ^ | ~M | 
Not | so the | mind **| | that has been | touched from | heaven, | 
And in the | school of | sacred | wisdom | **| **] | taught **j | 
*| To | read *| | Ms *J | wonders, | *\ in | whose | thought | **i 

the | world, *] \ 
Fair as it | is, H | **| ex- | isted | ere it | was : | *] **j | **| *1 | 
Not for its | own | sake *", | merely, | but for | his, **] | 
Much | more, | **] who | fashioned it, | ^ he | gives it | 

praise ; | **] ^ | 
Praise | **] that from | earth re- 1 suiting, | **j as it | ought, **! | ^ *"| 
*i To | earth's ac- | knowledged | Sovereign, | **[ r|-| finds at 

| once *\ | , 



204 



GRAMMAR OF ELOCUTION. 



~] Its | only | just pro- | prietor | ~j in | *] Him.*'] | *■ *j |*J ^ | 
**] The | soul that | sees him, | or re- | ceives, sub- | limed, **] | 
New | faculties, | "^ or | learns at | least to em- | ploy *< | 
More | worthily | ^ the | powers she | owned be- | fore, *"! | 
*"j Dis- | cerns in | all things | what with | stupid | gaze 
Of | ignorance, | **j till | then she | over- | looked, *| | 
**] A | ray of | heavenly | light, ""j | gilding | all | forms **| | 
**j Ter- | restrial | *"j in the | vast and the mi- | mite; | **! **i | 
^j The | unani- | biguous | footsteps | **j of the | God, *"! \ 
**} Who | gives its | lustre | **] to an | insect's | wing, ""j | 
*"] And | wheels his | throne upon the j rolling | worlds. ' w ]* 1 , ^"i"* 1 
Much | conversant with | heaven, | **i she | often | holds ^J | 
*^j With | those | fair | ministers of | light to | man, | 
*] That | fill the | skies *", | nightly with | silent | pomp, **| | 
Sweet | conference. | *", ^ | **j **! | *1 In- | quires, what | strains 

were | they *"] | 
**j With | which **j | heaven | rang, | **J when | every | star, in 

| haste | 
""l To | gratulate the | new-created | earth, ^ | 
Sent forth a | voice, **\ | '•j and | all the | sons of | God **| | 
Shouted for | joy. *] | *", *"; | *\ ^ | " Tell me, | *| ye | shining 

| hosts, *< | 
M That | navigate a | sea that | knows | no *•] | storms, **| | 
*| Be- | neath a | vault un- | sullied with a | cloud, | ""j **] | 
If from your | ele- | vatiou, | **j **] | whence ye | view 
Dis- | tinctly, | **| **] | scenes | **| in- | visible to | man, | 
^| And | systems, | **] of whose | birth no | tidings | yet *J | 
~\ Have | reached this | nether | world, | ' *| *| | ** ye | spy a 

| race, ^j | 



EXERCISES. 205 

Favored as | ours; | **[ *"] | trans- | gressors from the | womb, 1 ^ | 

^ And | hastening to a | grave, ^ | yet *| | doomed to | rise, **j | 

And to pos- | sess a | brighter | heaven than | yours ? | 

**[ As | one who | long de- | tained on | foreign | shores, *| | 

Pants to re- | turn, | **] ""J | and when he | sees a- | far | 

**i His | country's | weather-bleached | "rl and | battered 

rocks, **| | 
*< From the | green | wave e- | merging, | darts an | eye **] | 
Radiant with | joy, *"j | towards the | happy | land ; | ""j **| | 
So **| | I | ^| with | animated | hopes be- | hold, ""J | 
*"1 And | many an | aching | wish, | *< **] | your | beamy | fires, **| | 
**] That | show like | beacons | ^] in the | blue a- | byss, **J | 
"*| Or- | dained to | guide the em- | bodied | spirit | home | 
**| From | toilsome | life "*} | *\ to | never- | ending | rest. *"] | **] **! | 
Love | kindles as I | gaze ! | **J **| | **| I | feel de- | sires, | 
**] That | give as- | surance of their | own sue- | cess, | T*] | 
And that in- | fused from | heaven **| | must | *1 | thither 

| tend." r| | *] *| | *j H | 
So | reads | he *| | nature, | *1 **] | whom the | lamp of | 

truth | 
*| II- | luminates. | *| *| | *\ *| | Thy | lamp, H | «l m y S - | 

terious | word ! | **| *] | 
**j Which | whoso | sees | *j *] | *\ no | longer | wanders | 

lost, ~| | 
w j With | intellects be- | mazed in | endless | doubt, | **| **] | 
*| But | runs the | road of | wisdom. | **1 *! | **| *j | Thou hast 

| built | 
^| With | means, **| | *] that | were not | till by | thee em- | 

ployed, | *| -| | 
18 



206 GRAMMAR OF ELOCUTION. 

Worlds, that had | never | been | ^ hadst | thou in | streugth 

Been | less, *i |^j or | less be- 1 nevolent than | strong. | *1 *1 1 *1 *1 1 

They are thy | witnesses, | **] **] | who | speak thy | power | 

**| And | goodness | infinite, | *"i but | speak in | ears | 

**! That | hear not, | H or re- 1 ceive not | their re- 1 port. | *"|*1 | **M | 

*1 In | vain | *"j thy | creatures | testify of | thee, | 

*| Till | thou pro- | claim thy- | self. | *] M | *] *j | Theirs is, 

in- | deed, | 
*1 A | teaching | voice ; *1 | but 'tis the | praise of | thine, | 
*1 That | whom | it | teaches | *| it | makes **J | prompt to | 

learn, | 
*1 *J | And with the | boon **] | gives | talents | ^| for its | 

use. | *1 *| | *', *] | 
*1 Till | thou | ^] art | heard, | "*] im- | agi- | nations | vain | 
""| Pos- | sess the | heart; | *| *1 | *| and | fables | false as | hell, | 
Yet | deemed o- | racular, | lure | down to | death, *] | 
*1 The | unin- 1 formed and | heedless | souls of | men. | *1 *J | *1 *| | 
We | give to | chance, ^ | blind | chance, ~| | **| our- | selves 

as | blind, | 
**j The | glory of | thy | work j | ^ *[ | ~J which | yet ap- 1 pears *] | 
Perfect | ^j and | unim- | peachable of | blame, 1*1*11 
Challenging | human | scrutiny, | ^ and | proved **| | 
Then | skillful | most | ^ when | most se- | verely | judg- 
ed. | *] *] | *1 ~l | 

•j But | chance is | not ; | ~] *] | *| or | is not | where | thou | 

reignest : | *] *1 | 
Thy | providence | *j for- | bids | that | fickle | power **j | 
(*1 If | power she | be * | ^ that | works but to con- | found) *| | 
*j To | mix her | wild va- | garies j *[ with | thy | laws, j *| ~ \ 



EXERCISES, 207 

Yet | thus we | dote, | **] re- [ fusing | *1 while we | can | 

**| In- | struction, | **| and in- | venting to our- | selves **] | 

Gods | such as | guilt makes | welcome ; | **| **] | gods that | sleep | 

**{ Or | disre- | gard our | follies, | **] or that | sit **l \ 

**] A- 1 mused spec- 1 tators | **] of this | hustling | stage. | **| **| | **j **] | 

Thee | we re- | ject, **] | un- | ahle to a- | bide !"] | 

Thy **j | purity, | **] till | pure | **] as | thou art | pure ; | **| **| | 

Made | such by | thee, | **] we | love thee | **] for | that *»] | cause | 

**| For | which we | shunned and | hated thee | *"1 be- | 

fore. | H M | **] «"| | 
Then are we | free. **! | **| *1 1 *1 *1 1 Then | liberty, | **] like | day, | 
Breaks on the | soul, | **| ^j | and, by a | flash from | heaven, **| | 
Fires | all the | faculties | ^j with | glorious | joy. | **| **| | **| *"] | 
**j A | voice is | heard, | **} that | mortal | ears **] | hear *"] | not **| | 
**| Till | thou hast | touched them : | **] 'tis the | voice of | song, **| | 
**| A | loud ho- | sanna | sent from | all thy | works ; **] ] 
H Which | he that | hears it | **j with a | shout re- | peats, **j | 
M And | adds **| | his **J | rapture | **| to the | general | praise. | **| **| | 
**J In | that M | blest | moment, | *\ **] | Nature, | throwing | 

wide **| | 
*] Her | veil o- | paque, | **| dis- | closes with a | smile **| | 
**1 The | Author of her | beauties, | who, re- | tired | 
"•1 Be- | hind his | own ere- | ation, | works un- | seen **| | 
By the im- 1 pure, | **] and | hears his | power de- 1 nied. | **| **| | **| **| | 
Thou art the | source | **] and | centre of | all | minds, | 
**] Their | only | point of | rest, w | | *| E- | ternal | Word ! | **]**] | 
*•] From | thee de- 1 parting, | **| **] | they are | lost, **| | **! and | rove I 
**1 At | random, | **] with- | out *»] | honor, | hope, or | 

peace. | **J **! | *1 **j | 



808 GRAMMAR OF ELOCUTION. 

*] From | thee is | all that | soothes the | life of | man, | 
**] His | high en- | deavor, | ^| and his | glad sue- | cess, **] | 
*"| His | strength to | suffer, | M and his | will to | serve. | *| **J | *| **| | 
**] But | oh, thou | bounteous | Giver of | all | good, *| | 
Thou | art of | all thy | gifts ~| | ~\ thy- 1 self the | crown ! | *] *f| 
Give what thou | canst, | **] with- 1 out | thee | *1 we are | poor, j 
**l And ] with thee | rich, **| | take what thou | wilt a- | 

way. n t i *n | 



ON THE BEING OF A GOD. 

*| Re- I tire ; ~] | ~] the | world **j | shut *| | out; *| | *] thy 

| thoughts | call | home : | 
*^ Im- | agi- | nation's | airy | wing **] | **] re- | press ; *j | ^ ""J | 
Lock up thy | senses ; | **| **] | let no | passion | stir ; **J | **] **j | 
Wake | all to | reason ; \ « **] | ^j let | her w j | reign a- | lone : **] | 
**] ^| | Then **| | **| in thy | soul's | deep **] | silence, | **j and | 

the | depth ~] | 
**j Of | nature's | silence, | **j *| | midnight, | H **] | thus in- | 

quire : ^ | 
w . As 1 1 have | done ; ^ | and shall in- 1 quire no | more. \*\**\ | "*|^ | 
*! In | nature's | channel | thus the | questions | run : | *1*1 1 ^1*1 1 
" What | am I? | ~j and from | whence ? | *f ~\ | <-| I | nothing 

| know, •*] | 
But that 1 1 am; | **| *j | ^| and, | since I | am, | ^ con- 1 elude H | 



EXERCISES. 209 

Something e- | ternal : | **] H ] had there | e'er been | 

nought, *| | 
Nought | still had | been; — | ^ e | ternal | M there | must | 

be. *1 | M H | *| H | 
**] But | what e- 1 ternal? | **] *"] | Why not | human | race ? j ^^1 | 
**] And | Adam's | ancestors | **| with- 1 out an j end? ^j j^^ ^^ \ 
That's | hard to be con- | ceived; **| | ^ since | every | link^j | 
**1 Of | that | long M ] chained sue- j cession | **< is | so | frail ; **] | 
**| Can | every | part de- 1 pend,^ | **] and | not the | whole ? | **j **■ | 
**] Yet | grant it | true; **j | new | difficulties | rise; **, | 
**J Fm | still | quite ^ | out at | sea : **] | **j nor | see the | 

shore. | **j ~j | *] w j | 
Whence | earth, | -*] and | these | bright | orbs? *| |-**| E- | 

ternal | too ? | "1 ^ | 
"*| **] | Grant | matter | **j was e- | ternal ; | H "*[ | still these | 

orbs **j | 
**] Would | want some | other ] father; | **j **j | much de- | 

sign **] | 
**| Is | seen in | all their | motions, | *"|^ | all their | makes; [^p*|*| 
**j De- | sign | **| im- | plies in- | telligence | *J and | art,** | **J^! | 
That **| I can't be | **| from them- | selves | "-1 or j man ; *"! | *1 

~> | that *] | art ~| | 
Man | scarce can | compre- | hend, **] j *1 could | man be- | 

stow ? **! | 
""J And | nothing | greater | yet al- 1 lowed | ""j than | man, *1 1 '■'M | 
Who, | motion, | **[ *| | foreign to the | smallest | grain, | 
Shot through | vast **| | masses | ^ of e- 1 normous | weight ? **] | 
**! *". | Who | bid ^j | brute **J | matter's | restive [ lump as- | 

sume 
18* 



210 GRAMMAR OF ELOCUTION. 

Such | various | forms, **] j **] aDd | gave it | wiDgs to j fly ? | *} *] | 
*| Has | matter | innate | motion ? | *| **] | then *] | each *| | 

atom, | *»] 
**{ As- | serting its in- | disputable | right "| | 
**| To | dance, | **{ would | form an | universe of j dust ! **J j *< **] | 
**| Has | matter | none ? | *"1 **] | Then M | whence those | glo- 
rious | forms | 
**] And | boundless | flights, **] | **] from | shapeless | **| and 

re- | posed ? | **| **| | 
**j Has | matter | more than [ motion ? | has it | thought, | 
Judgment, and | genius ? | **] **| | Is it | deeply | learned 
In | mathe- | matics? | **} ^ | Has it | framed | such **| | 

laws, | 
Which but to | guess, **] | ^ a | Newton | made im- | mortal ? | 
**| If | so, *1 | how *\ | each *j | sage | atom | laughs at | 

me, *| | 
^| Who | think a | clod in- | ferior to a | man ! **] | 
**j If | art to | form ; | **| and | counsel to con- | duct ; **| | 
**] Re- | sides not | *\ in | each *| | block; ~j | *Ja | Godhead | 

reigns. | **j "I | **| **| | 
Grant, ~| | then, *] | ^ in- | visible, | **] e- | ternal | mind; | *}*1 1 
That | granted, | all is | solved. | *| **] | But, **j | granting | 

that, *| | 
Draw I not | o'er me | *\ a | still | darker | cloud ? *■} j ^\ ** | 
Grant I not | that *»] | which I can | ne'er con- | ceive ? | *| **| | 
*"| A | Being | without | origin | **J or | end ! | *"1 **| | *1 *1 | 
Hail, | human | liberty ! | **| there | is no | God ! **j | 
M Yet | why ? *1 | *| on | either | scheme | that *| | knot sub- j 

sists; **I I 



EXERCISES. 211 

*•] Sub- 1 sist it | must, <*l | **| in | God,^ | *| or | human | race : | **] *| | 

If in the | last, *"] | how many | knots be- | side, **] | 

*| In- | dissoluble | all ? | *| *| | *\ *] f Why | choose it | 

there, **] | 
Where | chosen | still sub- | sist H [ ten | thousand | 

more ? | w | *| | 
^1 Re- | ject it, | where | that | chosen, | *"J **i | all the | 

rest ^1 | 
^ Dis- | persed, | leave | reason's | whole ho- | rizon | 

clear? | ^ H | *]<-] | 
This is not | reason's | dictate ; | **] **] | reason | says, **J | 
Choose with the | side *j | *] where | one ^ | grain [ turns 

the | scale ; | *l **J | 
**} What | vast pre- | ponderance | M is | here ! | *1 *1 | **| can | 

reason | 
**] With | louder | voice ex- | claim, | *1 Be- | lieve a | 

God rH|^M| 
**| And | reason | heard | ^ is the | sole j mark of | man. *| | *"j*< | 
What | things | **| im- | possible | *"| must | man think | 

true, ~1 | 
**j On | any | other | system ! | **| *l | *1 and | how *\ | strange | 
**] To | disbe- 1 lieve | **\ through | mere ere- 1 dulity ! | **j ^ | M **] | 
If ^] | **] in | this | chain | *l Lo- | renzo | finds no | flaw, *\ | 
Let it for | ever | bind him | **| to be- | lief. | **j **] | 
*\ And | where the | link | **| in | which a | flaw he | 

finds ? | *1 *] | 
*| And | if a | God there | is, | *] ^ | that | God | how | 

great! | *|:*J | *H | 

Young. 



212 GRAMMAR OF ELOCUTTOX. 



ADAM AND EVE'S MORNING HYMN. 

These are thy | glorious | works ! | **{ **] | Parent of | good ! | 
**j **i | Al- | mighty ! | ^ **| | thine this | uni- | versal | frame, | 
Thus | wond'rous | fair : **] | ^] thy- | self **j | how | wond'- 

rous | then, ^j | 
Un- | speakable ! | *< who | sitt'st a- | bove *] | these | heavens, | 
**| To | us in- | visible, | "*-*l or | dimly | seen, **{ | 
*[ In | these thy | lowest | works : **} | ^ *i | yet w ; | these 

de- | clare **] | 
*1 ^ n y I goodness | H be- | j^ond | thought, | *\ and | power di- 

viue. | ^ ^ | ~\ *] | 
Speak, **] | ye *"] | *"] who | best can | tell, **j J **] ye | sons of | 

light, | **| ^ | 
Angels ! | *"] for | ye be- | hold him, | **] and with | songs ^ | 
^ And | choral | symphonies, | ^ **j | day without | night, *1 | 
Circle his | throne | **} re- 1 joicing. | *1 **] | Ye in | heaven ! | **j ^j | 
^l On | earth, **! | *|H | join, ^j | all ye | creatures, | *»] to ex- | 

tol -i, | -|~j | 

Him | first, **\ | him | last, **] | him | midst, | and without | 

end. | *1 ^i | ^1 ^[ | 
Fairest of | stars ! **l | *"j **] | last in the | train of | night, *] | 
*1 If | better thou be- | long not to the | dawn, | ^ ^ | 
Sure ! pledge of | day, I *| that I crown'st the | smiling I morn *"| | 



EXERCISES. 213 

*j With thy | bright *\ | circlet, | **| *] | praise hiin | **j in thy | 

sphere, ^j | 
While | day a- 1 rises, | ^^j | that sweet | hour of| prime. |^J*| | ^|^J | 
Thou | sun ! *[ | *| H | *| of | this M | great *| | world | ^ 

both | eye and | soul, *] | 
**] Ac- | knowledge | him ^] | thy | greater • | **] *| | sound his 

| praise | 
In thy e- | ternal | course, | *1 *\ | both when thou | climb'st, | 
And when | high **] | noon hast | gain'd, ^ | ^ and | when 

thou | fall' st. | *| *-] | **| ~] | 
Moon ! | ^| that | now | meet'st the | orient | sun, | **] *[ j now | 

fly'st,-] | 
**J With the | fixed **} | stars, ^ | *]*] | (fixed in their | orb that 

flies !) | ~H | 
**| And | ye *»] | five | other | wand'ring | fires ! | **| that | move ^ | 
^ In | mystic | dance, | **| **j | cot without | song ! | **j re- | 

sound ""l | 
His | praise | **J who | out of | darkness | called up | 

light. *1 | ^1 *1 | *1 ^, | 
Air, *-l | *"j and ye | elements ! | *[ the | eldest | birth M | 
*1 Of | Nature's | womb, | that in qua- | ternion | run **j | 
H Per- | petual | circle, | **\ **] | multiform and | mix, | 
**] And | nourish | all things, | **! **| | let your | ceaseless | change , 
Vary to our | great *] | Maker | ^ h | still H | new ^ | 

praise. | *| H [ ^J H | 
*i Ye | mists | **[ and | exha- | lations ! | "*j that | now | rise *1 | 
**j From | hill or | steaming | lake, **| | dusky or | grey, | 
**] Till the | sun **j | paint your | fleecy | skirts with | gold, *j | 
M In | honor to the | world's | great *"] | Author | rise ; **] | *"] **| | 



214 GRAMMAR OF ELOCUTION. 

Whether to | deck with | clouds *| | *| the un- 1 colored sky, *] | 
**] Or | wet the | thirsty | earth with | falling | showers,** | »*l *| | 
Rising | **i or | falling, | **j*| | still ad- 1 vance | his | praise. \*]*] | *"|M| 
His | praise, | **| ye | winds *| | **| that from | four *| | quarters 

| blow, *| \*[*[\ 
Breathe | soft or | loud !*]!*] and | wave your | tops, ~ \ *j 

ye | pines, ^ | 
**] With | every | plant, | **] *| | *< in [ sign of | worship, | 

wave. | **j **| j *} ^ | 
Fountains ! | *\ and | ye that | warble | **] as ye | flow | 
*"| Me- | lodious | murmurs, | **] **j | warbling, | ^ ^ | tune his 

| praise. | **j ** | 
Join | voices, J all ye | living | souls. | *] *\ | **j Ye | birds, *"1 | 
H That | singing, | up to | heaven's | gate as- | cend, | **J **j | 
Bear on your | wings, [ and in your | notes ** | his *•} | 

praise. | ^ M | ~] ~j | 
Ye that in | waters | glide, | ** and | ye that | walk 
The | earth, | ^ and | stately | tread | ^j or | lowly | creep ! w | 
Witness if | I be | silent, | **| **] | morn | *\ or | even, | 
M To | hill or | valley, | fountain or | fresh *J | shade, | 
**] *j | Made [ vocal by my | song, I *1 and | taught ^ | his 

**| | praise. | *] 1 | *1 *", | 
Hail, | uni- | versal | Lord ! | ^j ^ | ^ be | bouuteous | still, | 
*i To | give us | only | good J *1 | **] **j | <™d if the | night *| | 
^j Have | gathered ] aught of | evil, | *] or con- | cealed, *] | 
^ Dis- | perse it, | **| as | now | light | ~ dis- | pels the | 

dark. | ~] *| | ~j *] | 

Milt ox. 



EXERCISES. 215 



SPEECH OF THE EARL OF CHATHAM, 

ON THE SUBJECT OF EMPLOYING INDIANS TO FIGHT AGAINST 
THE AMERICANS. 

**j I | CANNOT, | *i my | lords, **| | *] I | will not, | join in 
con- | gratu- | lation | on mis- | fortune | *< and dis- | grace. 
I 1 *1 I *1 *1 I Tnis ; |1 my | lords, ~[ | ^ is a | perilous | ^ 
and tre- | mendous | moment; | **j *»| | "-1 the | smoothness 
of | flattery | cannot | save us | ^ in this | rugged and | 
awful | crisis. | ""J *"J | *"J *"] | *"] It is | now j necessary | *1 to 
in- | struct the | throne | ""j in the J language of j truth. [ **] 
*n *1 ■"*! I *1 We I milst > 1 I 1 if possible, | **] dis- | pel the 
de- | lusion and | darkness | *] which en- | velope it; | ■ *| and 
dis- | play, **] | **j in its | full | danger | **| and | genuine | 
colors, | *"] the | ruin | **| which is | brought to our | doors. | 
^ *1 I *1 *1 I ^ an I mm isters | still pre- | sume to ex- | pect 
sup- | port ** | in their in- | fatu- | ation ? [ ^ **] | M Can | 
parliament | **] be [ so | dead to its | dignity and | duty, | *1 
as to | give its sup- | port *"] | *"] to | measures | thus ob- | 
traded and | forced up- | on it ? | w | ** | Measures, | *< my | 
lords, **| | which have re- | duced this | late | flourishing | 
empire | *"] to | scorn and con- | tempt ? | **j *| | **| But | yes- 
terday, | **| and | England | might have | stood against the | 



216 GRAMMAR OF ELOCUTION. 

world; | *»| *1 j now, **] | none so | poor | *»| as to | do her | 
reverence ! | **| *"| | ^ The | people | (whom we at | first de- | 
spised as | rebels, | **j but | whom we | now ac- | knowledge 
as | enemies), | ""j are a- | betted a- | gainst us, | **} sup- | plied 
with | every | military | store, | **j their | interest con- 1 suited, 
| """j and their am- | bassadors | enter- | tained | **] by our in- | 
veterate | enemy; | M **j | **] and | ministers | do not, | '•J and 
| dare not, | inter- | pose | *"[ with | dignity | **| or ef- | feet. | 
*1 *1 I *1 *1 I *1 ^ ne I desperate | state of our | army a- | broad 
| ^ is in | part *"| | known. | *j **| | *1 **j | No man | **j more | 
highly es- | teems and | honors the | English | troops | ^] than 
| I do : | **] *] | ^ I | know their | virtues | *i and their | 
valor ; | **| **| | **! I | know they can a- | chieve "■*] | anything 
but | impossi- | bilities > | **j **] | and I | know that the | con- 
quest of | English A- | merica | is an | impossi- | bility. | *". *■] 
| ~] * | **] You | cannot, | **] my | lords, | *\ you | can- | not **] 
| conquer A- | merica. | **| **| | *1 "I | What is your | present | 
situ- | ation | there ? | *\ *J | ^ We J do not | know the | 
worst : | **]*"! | but we | know that in | three cam- | paigns | N 
we have | done | nothing | **j and | suffered | much. **] | **] **} | 
M h | You may | swell every ex- | peuse, | **] ac- | cumulate | 
every as- | sistance, | **| and ex- | tend your | traffic | *] to the 
| shambles of | every | German | despot; | *j *j | your at- | 
tempts *| | h will | be for | ever | vain and | impotent; | **J 
^ | doubly | so, in- | deed, **| | *[ from this | mercenary | aid 
| *J on | which you re- | ly ; *| \ r| *] | for it | irrirates | *] to 
an in- | curable re- | sentment, | ~] the | minds of your | 
adversaries, | *j to | over- | run them with the | mercenary 
| sons of | rapine and | plunder, | **| de- | voting | them and 



EXERCISES. 217 

their pos- | sessions | **| to the ra- | pacity of | hireling | 
cruelty. [ «■] ^ | ^ H | 

But, | **| my | lords, | who is the | man, "*| | that, in ad- | 
dition | **] to the dis- | graces and | mischiefs of the | war, | **] 
has | dared to | authorize | **j and as- | sociate to our | arms | 
*"] the. | tomahawk | **J and | scalping-knife | **| of the | savage ? 
I 1 *1 I *1 *° I ca ^ i nto I civilized al- | liance | *] the | wild 
and in- | human in- | habitants of the | woods ? | ^ ^J | M to | 
delegate | **| to the | merciless | Indian | **| the de- | fence of 
dis- | puted | rights, | *| and to | wage the | horrors of his | 
barbarous | war | *■) | against our | brethren ? | **} *i | ■*} **| I H 
My | lords, | these e- | normities | cry a- | loud | **j for re- | 
dress and | punishment. | **| w i | But, my | lords, | ^1 this | 
barbarous | measure | has been de- | fended, | **i **| | not | only 
on the | principles of | policy | *j and ne- | cessity, | ^ but | 
also on | those of mo- | rality; j *»] ~j | " for it is | perfectly 
al- | lowable," | ~j says | Lord | Suffolk, | h "to | use | all the 
| means | **| which | God and | nature | **| have | put into our | 
hands." | *"1 **j | **1 *\ | I am as- | tonished ! [ M I a-m I shocked ! 
| **1 to | hear such | principles con- | fessed ; j *1 *"| | **] to | hear 
them a- | vowed in | this | house, | or in | this | country. | **| 
1 M *1 I *1 M y I lords > I 1 I I did not in - | teQ d to en- | 
croach so | much **l | **| on your at- | tention, | *"j ^ | but I | 
cannot re- | press my | in dig- | nation. | **| **j | **] I | feel my- 
self im- | pelled to | speak. | *rj **} | M ~J | *| My | lords, | *] 
we are | called upon, | ^ as | members of this | house, | H as 
| men, **] | **j as | Christians, | **| to pro- | test against | **1 such 
| horrible bar- | barity ! | *| «-| | *•] *] | «| " That | God and | 
nature | ** have | put into our | hands!" | !*] h | What i- I 
19 



218 GRAMMAR OF ELOCUTION. 

doas of | God and | nature | that | noble | lord may | enter- | 
tain, | **} I | know not; | **j *1 | but I | know that | such de- | 
testable | principles | **i are | equally ab- | horrent | ^ to re- | 
ligion | *| and hu- | inanity. | H '*| | ^ *] | What, *| | **J to 
at- | tribute the | sacred | sanction of | God and | nature | **j 
to the | massacres | **| of the | Indian | scalping-knife ! | *| to 
the | savage, | torturing | ^1 and | murdering | **j his uu- | 
happy | victims ! | **} **| J *»} "**J | Such | notions | shock *< j 
every | sentiment of | honor. | ^ **1 | *1 **} | These a- | bomi- 
nable | principles, | *"j and this | more a- | bominable a- | vowal 
of them, | ^1 de- | mand the | most de- | cisive indig- | nation. 
I *1 1 I *1 *1 M I I cal1 ll P on I taat I right *| | reverend, | ~j 
and | this most | learned | Bench, | **j to | vindicate | **] the 
re- | ligion of their | God — **{ | M to sup- | port the | justice of 
their | country. | *"| **] | **| **| | **} I | call upon the | bishops | **| 
to | inter- | pose the uu- | sullied | sanctity of their | lawn ; | 
**]**! | *1 upon the | judges | **] to | inter- | pose the | purity 
of their | ermine, | **J to | save us from | this pol- | lutiou. j '•J 

*1 I *1 '**! 1*1 ^ I ea ^ u P on tne I honor °f y° ur I lordships, | **| 
to | reverence the | dignity of your | ancestors, | and to main- | 
tain your | own. | **] *j | ~] **] | **] I | call upon the | spirit | **| 
and hu- | inanity | **J of my | country, | *1 to | vindicate the | 
national | character. | H ~] | *| *| | I in- | voke the | genius of 
the | British j consti- | tution. | ^| *| | *| ** | **| From the | 
tapestry | H that a- | dorns | these | walls, | *| the im- | mortal 
| ancestor | *j of this | noble | lord | frowns with | indig- | na- 
tion | *| at the dis- | grace of his | country. | *j *| | *i ** | **| 
In | vain did | he de- | fend the | liberty, | *\ and es- | tablish 



EXERCISES. 219 

the re- | ligion of | Britain, | *«] a- | gainst the | tyranny of ! 
Rome, | if these | worse than | popish | cruelties, | **] and | 
inquisi- | torial | practices, | **] are en- | dured a- | mong us. | **] 
X] M 1 I 1 To I send I f° rtn tne I merciless | Indian, | ^ **] | 
thirsting for | blood! *"J | **l a- | gainst | whom? | **]**! | *1 
your | protestant | brethren ! | ~| H | **| to | lay *1 | waste their 
| country, ! **j to | desolate their | dwellings, | **] and ex- | 
tirpate their | race and | name, | **] by the | aid and | instru- 
ment | tality of | these un- | governable | savages ! | **| *| | ^] 
•^ | Spain can | no | longer | boast | "*] pre- ] eminence | **] in 
bar- | barity. | *"| **] | *| *< | She | armed herself with | blood- 
hounds | *[ to ex- | tirpate the | wretched | natives of | 
Mexico; | **| **j | we, | more | ruthless, | loose those | brutal | 
warriors | **j a- | gainst our | countrymen | *| in A- | merica, 
| ^i en- | deared to us | **] by | every | tie | *"] that can | 
sanctify hu- | manity. | .*•] **} | y\ **} | .*[ I | solemnly | call upon 
your | lordships, | and upon | every | order of | men in the | 
state, | **] to | stamp upon | this **] | infamous pro- | cedure | 
M the in- | delible | stigma | **] of the | public ab- | horrence. | 
1 **! I *1 *1 I More par- | ticularly, | *1 I | call upon the | ven- 
erable | prelates | *"| of our re- | ligion, | **| to | do a- | way 
this in- | iquity : | M w j | let them per- | form a lus- | tration | 
**] to | purify the | country | *1 from this | deep *] | **| and | 
deadly | sin. | ~] *] | *| *| | ~] My | lords, ~ { | ~ I am | old | 
*1 and | weak, | *"] and at | present | **j un- | able to | say | 
more; | **] **| | but my j feelings and | indig- | nation | **| were 
| too | strong to have al- | lowed me to | say | less. | J"] *] | *»1 
*| | **| I | could not have | slept **[ | this **] | night in my | 
bed, | *| nor | even re- | posed my | head upon my | pillow, | 



220 



GRAMMAR OF ELOCUTION. 



w , with- | out **j | giving | vent to my | steadfast ab- | horrence 
| *1 of | such e- | normous | *t and pre- | posterous | princi. 
pies. | 1 ^1 | w ^j | 



TIMON'S ADDRESS TO THE THIEVES. 

Timon. Why should you | want? | ~jBe-| hold, the | earth 
hath | roots; | 
*] With- | in this | mile break | forth a | hundred | springs : 
**| The | oaks bear | mast, the | briars | scarlet | hips : | 
*1 The | bounteous | housewife, | nature, | *"< on | each | bush j 
Lays her | full | mess be- | fore you. | **} **1 | Want ? | **| **j | 
why | want? | 
1st Thief. *»] We | cannot | live on | grass, on | berries, 
| water, | 
**} As | beasts, and | birds, and | fishes. | 

Tim. **| Nor | on the | beasts them- | selves, the | birds, 

and | fishes : | **| "*! |" *M % | 
*< You must | eat | men. | **j Yet | thanks I | must you | con, 
That you are | thieves pro- | fessed ; | ^ that you | work not 
In | holier | shapes : | **1 **j | for there is | boundless | theft 
In | limited pro- | fessions. | ^ *"j | Rascal | thieves, | 
Here's | gold : | Go, | suck the | subtle | blood of the | grape, | 
**l Till the | high | fever | seethe your | blood to | froth, | 



EXERCISES. 2*21 

""j And | so | 'scape | hanging : | **] *"l | trust not the phy- | si- 

eian ; | *■] **] | 
His | antidotes are | poison, | **] and | he | slays | 
More than | you | rob : | **| **] | take | wealth and | lives to- | 

gether ; | **]**] | 
Do | villany, | do, | since you pro- | fess to | do't, | 
"*1 Like | workmen. | **J **j | I'll ex- | ample you with | thievery; | 
**! The | sun's a | thief, and | with his | great at- | traction | 
Robs the | vast | sea: | w ; the | moon's an | arrant | thief, | 
*1 And her | pale | fire she | snatches from the | *•] sun : | 
**] The j sea's a | thief, whose | liquid | surge re- | solves 
The j moon into J salt | tears : | "•] the { earth's a j thief, | 
^ That feeds, | and | breeds by a com- | posture | stolen 
From | general | excrement : | **} *"j | each | thing's a | thief: | 
**] The | laws, | *"1 your | curb and | whip, | **[ in | their | 

rough | power 
*"] Have | un- | check'd | theft. | **] **] | Love not your- | selves : 

|-]a- | way; | -j -1 | 
Eob | one a- | nother. | *"] "^ | There's | more | gold : | **] **| | 

cut | throats ; | ^ ~j | 
All that you | meet are | thieves : | ^ To | Athens, | go, | 
Break open | shops; ) nothing can you | steal, 
But | thieves do | lose it. | ~| **J | «| ™ \ 

Shakspeare, 



19* 



GRAMMAR OF ELOCUTION. 



CESAR'S PASSAGE OF THE RUBICON. 

*| A | gentleman, | *J Mr. | Chairman, | speaking of | 
Caesar's be- | nevolent | dispo- 1 sition, | **] and of the re- | luc- 
tance with | which he | entered into the | civil | war, | **] ob- | 
serves, | " How | long did he | pause upon the | brink of the 
| Rubicon ?" | **} **J | *] **j | How | came he to the | brink of | 
that | river ? | **} **| | M M | How | dared he | cross it ? | **j **} 
I *1 ""I I *1 Shall | private | men re- | spect the | boundaries of | 
private | property, | **j and shall a | man | pay no re- | spect 
to the | boundaries of his | country's | rights f ] **] *\ | **| * J "j | 
How | dared he | cross | that | river ? | 1 **] | **! **! | ! but 
he | paused upon the | brink. | *"] *] | He should have | pe- 
rished upon the | brink **| | ere he had | crossed it ! | **,**] | *j 
**| | Why did he | pause ? | *1 H , | W j *1 | Why does a | man's | 
heart | palpitate | when he is on the | point of com- | mitting 
an | unlawful | deed ? | **j *\ | Why does the | murderer, | ""j his 
| victim | sleeping be- | fore him, | **] and his | glaring | eye | 
taking the | measure of the | blow, | strike | wide of the | mortal 
| part ? | **| Be- | cause of | conscience ! | M ( 'Twas | that made 
| Caesar | pause upon the | brink of the | Rubicon. |**J **] | **j **| | 

*1 Com- | passion ! | **! **] | "1 *"| | What com- | passion ? | **] 
The com- | passion of an as- | sassin, | **] that | feels a | mo- 
mentary | shudder, | **] as his | weapon be- | gins to | cut \ 



EXERCISES. '226 

*] *[ I Caesar | paused upon the | brink of the | Rubicon ! | H •*| 
| -j What | was the | Rubicon? | *] The | boundary of | 
Caesar's | province. | ^J From | what did it | separate his | pro- 
vince? | * - | From his | country. | *] Was | that | country a | 
desert ? | *| H | *| ~ { | No ; | **| it was | cultivated and | fertile, 
| rich and | prosperous ! **] Its | sons were | men of | genius, | 
spirit, -and gene- | rosity ! | H Its | daughters were | lovely, | 
*1 sus- | ceptible, and | chaste ! | **J **| | 

Friendship | *\ was its in- | habitant ! | **] H | Love was its in- 1 
habitant ! | **] Do- | mestic af- | fection | ^j was its in- | habi- 
tant ! J *J M I ^ ^ I Liberty | H was its in- | habitant ! |^.^| | ** 
^ | All | bounded by the | stream of the | Rubicon ! | **| **! | **] 
**] | What was | Caesar | *1 that | stood upon the | bank of that 
| stream ? | **j A | traitor, | bringing | war and | pestilence | 
into the | heart of that | country ! j **| ^ | *[ /"I | No | wonder 
that he | paused ! *[ *\ | No | wonder ] **j if his i- | magi- | na- 
tion | **| ""J | wrought upon j **] by his ] conscience, | H he had 
be- | held | blood | **] in- | stead of | water ; | *| *] | *] and | 
heard | groans | **] in- | stead of | murmurs ! | H *] | No | 
wonder if | some | gorgon | horror had | turned him into [ stone 
upon the | spot ! | *\ *| | **j *j | *] But, | no ! | ~j he | cried, 
"The | die is | cast!" | *]*-, | T|~|J M He | plunged! | ~]he | 
crossed ! | **| and | Rome | **| was | free no | more ! 

James S. Knowles. 



224 GRAMMAR OF ELOCUTION 



SPEECH OF PATRICK HENRY. 

Mr. I President, | m ^i | ^ It is | natural to | man | **| to 
in- | dulge in the il- | lusions of | hope. | **j **| | **] We axe 
apt to | shut our | eyes | ^| a- | gainst a | painful | truth, | **< 
*| | **j and | listen to the | song of that | syren, | «*i '*1 | till she 
trans- | forms us | *i into | beasts. | *j **[ | **| H | Tj Is j this 
the | part of | wise | men, | *< en- | gaged in a | great and J 
arduous | struggle | M for | liberty? | **j ""j | "■"] **] | Are we 
dis- | posed | **| to | be of the | number of | those | **j who | 
having | eyes | see not, | **} and | having | ears | hear not the 
| things | **] which so | nearly con- | cern our | temporal sol- 
vation ? | **| *] | ^1 M | *[ For | my part, [ **] what- | ever | 
anguish of | spirit it may | cost, | **] **j | I am | willing to | 
know the | whole | truth ; | **| **1 | **! to | know the | worst. 
*| *] | and to pro- | vide for it. | h *| | *| *| | 

**. I | have but [ one | lamp, | *\ by | which | my | feet are | 
guided, | ^ **| | *"} and | that | *\ is the j lamp of ex- | perience. 
I *1 *1 1 *1 *1l "1 ■"■ I know of | no | way of | judging of the | future 
| M ~j | but by the | past. | ^ 1| ^ ^ | 1 And | judging by the | 
past, | *"j 1 1 wish to | know | what there has | been ] *| in the 
conduct of the | British | ministry, | *"] for the | last | ten years, 
| **] to | justify | those | hopes | w ;with which | gentlemen *1 
have been | pleased to | solace them- | selves j **] and the 



EXERCISES. 225 

house '( | *| *-j | *| *\ | Is it | that in- | sidious | smile | *] with 
| which our pe- | tition | **| has been | lately re- j ceived ? | *1 
*"| | **| *"1 1 Trust it | not, sir j | ^ ^ | it will | prove a | snare | *"] to 
your | feet. | *j *"| | **| **| | Suffer not your- | selves | *"1 to be 
be- | trayed with a | kiss. | *1 **) | **f *1 | Ask yourselves | how 
this ] gracious re- | ception | **\ of our pe- | tition | **j com- | 
ports with those | warlike | prepa- | rations | **| which | cover 
our | waters | **] and | darken our | land. | ^j **j | *1 *1 | ^ Are 
| fleets and | armies | necessary | H to a | work of | love and | 
reeoncili- | ation ? | M M | M **] | Have we | shown ourselves | 
so un- | willing to be | reconciled, | **] that | force | *] must 
be | called | in | H to | win | back our | love ? | M M | **j ^i j 
Let us | not de- | ceive ourselves, | sir. | **j **j | **| *•( | These 
are the | implements of | war | *\ and | subju- | gation ; | *| r] 
| ^ the | last | arguments | **] to which | kings re- | sort. | *| 
^1 | **| I | ask | gentlemen, | sir, | what | means this | martial 
ar- | ray, | **| if its | purpose | be not to | force us to sub- | 
mission? | ^] M | *"j **1 | **| Cau | gentlemen as- | sign | any [ 
other | possible | motive for it ? | **| *■?] | w | **] | **] Has | Great | 
Britain | any | enemy | **] in | this | quarter of the | world, | 
"•1 to | call for | all this ac- | cumu- | lation | M of | navies and 
| armies ? | *j.>| | ^.^ | No, sir, | she has | none. | *| ^ | ^ H | 
They are | meant for | us : | *■*] w | | **] they | can be | meant 
for | no | other. | ^ ^, | ^ **] \ They are | sent | over | *"] to | 
bind and | rivet upon us | those | chains, j w < which the | 
British | ministry | *"! have been | so | long | forging. | *•] **j | 
*] H | Shall we | try | argument ? | *| 1 M *1 | Sir, | *] we | 
have been | trying | that | **| for the | last | ten | years. | '*] *i 
| *"1 M | Have we | anything | new | *"j to | offer | **] upon the 



226 GRAMMAR OF ELOCUTION. 

| subject'/ | **] ~| | M **, | Nothing. | *1 **j | *1 *", | We have | 
held the | subject | up | **[ in eyery | light of | which it is | 
capable; | **} w | | but it has been | all in | vain. | **|**| \ **| **] | 
Shall we re- | sort to en- | treaty | M and | humble | suppli- | 
cation ? | *1 *1 I 1 **! I What | terms | **| shall we | find which 
| have not ] been al- | ready ex- | hausted ? | **{ **| | *"j *^ | Let 
us | not, | **| I be- | seech you, sir, | '•j de- | ceive ourselves | 
longer. | **| **j | ^| **] | Sir, | **| we have | done | everything | 
^] that | could be | done, | **} to a- | vert the | storm | **| which 
is | now coming | on. | **J *1 | **| *fj | We have pe- | titioned, | 
^ *] | we have re- | monstrated, | *"j **] | we have | supplicated, 
| **| M | we have | prostrated our- | selves be- | fore the | 
throne, | **| M J and have im- | plored | its | interpo- | sition 
| *"j to ar- | rest the ty- | rannical | hands | **j of the | ministry 
| **| and | parliament. | "l **! | **| **] | **i Our pe- | titions | *fj 
have been | slighted ; | *< **] | *] our re- | monstrances | **j have 
pro- | duced ad- | ditional | violence | **| and | insult ; | *J ^j | 
*"| our | suppli- | cations | **| have been | disre- | garded ; | **| 
^ | ^j and | we have been | spurned, | **] with con- | tempt, | 
*| from the | foot of the | throne. | ^ **| | w | *| | *| In | vain, 
| *i after | these | things, *j | may we in- | dulge the | fond | 
hope of | peace | '•J and | reconcili- | ation. | **| *"j | *] *< | 
There is \ no \ longer | any | room for \ hope. | *< *] | **| *| | 
If we | wisb to be | free, | **| **| | if we | mean to pre- | serve 
in- | violate | those in- [ estimable | privileges | *"j for | which 
we have been | so | long con- | tending, | w , **, | if we | mean 
not | basely to a- | bandon | *1 the | noble | struggle | ^ in j 
which we have been | so | long en- | gaged, | *< and | which 
we have | pledged ourselves | never to a- | bandon, j ■*] uu- 



EXERCISES. 227 

! til the | glorious | object of our | coutest | shall be ob- | 
tained, | **| w ; | we must | fight : | *| M | ~j *j | I re- | peat it, 
sir. | *] we | must *] | fight ! | «*j **| | **j *1 | *] An ap- | peal to 
| arms, | and to the | God of | hosts, | M is | all | *| that is | 
left us ! | *| *| | *| **| | 

•] They | tell us, | sir, *[ | that we are ] weak, | *"{ un- | able 
to | cope with so | formidable an | adversary. | **! *1 | **} **! I 
•{'But | when shall we be | stronger ?| 1 "1 M *1 I Wil1 it( 
be the | next | week, **J | or the | next | year ? | *1 *1 1 *1 **! I Will 
it | be | when we are | totally dis- j armed | **] and | when a | 
British | guard | "*| shall be | stationed in | every | house? | 
*1 *1 ! **l *1 1 *1 Shall we | gather | strength | *"j by | irreso- 1 lution 
J **j and in- { action? j •J*"] J **jH | *1 Shall we ac- 1 quire the | means 
of ef- 1 fectual re- 1 sistance, J **j by | lying su- 1 pinely | *"l on our j 
backs, j *"J and j hugging the de- | lusive J phantom of ( hope, | **] 
un- | til our | enemies | **| shall have | bound us | hand and j foot? 
I H i *1 I *1 *1 I Sir, ""I | M j we are | not | weak, | **] if we | make 
a | proper | use of | those | means | **J which the | God of | 
nature | *\ hath | placed in our | power. | H •j | •] *"j | Three 
| millions of | people, | •] ""J | armed in the | holy | cause of | 
liberty, | •] and in | such a | country | *) as | that which | we 
pos- | sess, | •{ are in- | vincible | •} by | any | force | ** which 
our | enemy | ^ can | send a- | gainst us. | ""j H | **J h | **] 
Be- | sides, sir, | • we shall | not | fight our | battles a- | 
lone. | ^i *1 | *J *", | There is a | just | God, | *] who pre- | 
sides | over the | destinies of | nations ; | •j **| | •] and who will 
| raise | up | friends | *1 to | fight our | battles | for us. | *| 
^ | ^j • | •! The | battle, | sir, | M is | not to the | strong a- | 
lone ; | **, • | it is to the | vigilant, | *j the | active, | *| the | 



228 GRAMMAR OF ELOCUTION. 

brave. | **] **| | **j *-i | M Be- | sides, sir, | ^ we have | no e- | 
lection. | *"] ^ | **] M | If we were | base enough | **] to de- | 
sire it, | H it is | now | too | late ] *\ to re- | tire from the | 
contest. | ~J ~j | **j ^ | There is | no re- | treat, \*"\** t \ but in 
sub- | mission | ^ and ] slavery. | 1 1 | *1 1 I 1 Our | chains 
are | forged. | *< ^ | M **] | **j Their | clanking may be | heard 
on the | plaius of | Boston. | ^ ^, | **| 1 | **! The | war | '•j is 
in- | evitable, \**\~\\ ~J and [ let it | come ! | •} *1 | H *j \ ~< 
I re- | peat it, | sir, \.:*\~\\ let it | come ! | ~j *»| | *| ~j | It is 
in | vain, sir, | ^ to ex- | tenuate the | matter. | W J **] | Gen- 
tlemen may | cry | peace, | peace ! | **j ^] | but there | is no 
| peace. | ^ h | ~j *"j | *"j The | war is | actually be- | gun ! | 
1 1 I 1 1 I 1 The I next I g a ^ e tnat I sweeps from the | 
north [ **] will | bring to our | ears | ""J the | clash of re- | 
sounding | arms ! | ^j **} | *"] *j | **] Our | brethren | ^ are al- 
| ready in the | field ! j r) 1 1. 1 1 | Why | stand | we | here 
| idle ? | M M | *J ^ | What | is it | ^ that | gentlemen 
wish ? | 1 1 I 1 1 I What *| | would they | have ? ] 1 1 I 1 
*"j | **] Is | life ^ | so | dear, [ *"J or peace | so | sweet, | as to 
be | purchased | *] at the | price of | chains and | slavery ? | 
wj *, i yj ^ | wj p or . | y^ i t? | *| Al- | mighty | God ! | ~ ~ | 
^ I | know not | what | course | others may | take ; | *\ **} | 
H but | as for | me, | ~j *"j | give | me | liberty J | 1 *1 1 ^| or 
| give me | death ! | 1 1 | ^; 1 1 



EXERCISES. 229 



ADDRESS OF HENRY V. TO HIS TROOPS BEFORE 
THE GATES OF HARFLEUR. 

Once | more | unto the j breach, | dear | friends, | *| M | 

once | more ; | **] **] | 
**j Or | close the | wall up | **| with our j English | dead. | **]**! | 
**] In | peace, | **| there's | nothing | so be- | comes a [man | 
*"] As | modest | stillness | H and hu- | mility : | **]**! | 
[But when the | blast of | war | , *j ^j | blows in our | ears, | 
| ^ ^ | Then | imitate the | action of the | tiger : | **] **] | 
Stiffen the | sinews, | ~j **j | summon | up the | blood, | 
**| Dis- | guise | fair | nature | **J with | hard- | favor' d | 

rage: |~|~j| 
Then | lend the | eye | •» a | terrible | aspect ; | 
**} **} | Let it | pry | ""I through the | portage of the | head, | 
Like the | brass | cannon ; | '^M | let the | brow o'er- | whelm it, | 
**J As | fearfully | as doth a | galled | rock | 
**j O'er- | hang and | jutty | H his con- | founded | base, | 
^l^j | Swill'd with the | wild | ~\ and j wasteful | ocean, j ^^ | *»|*| | 
Now | set the | teeth, | **| and | stretch | ^ the | nostril | wide, | 
Hold | hard the | breath, | *j and | bend | up ] every | spirit | 
*-j To his | full | height ! | *] -| | On, *| | on, -] | you | noble 

| English, | *j*| | 

•J Whose j blood is | fetfrom | fathers of | war- | proof! | *|*] | 
20 



230 GRAMMAR OF ELOCUTION. 

Fathers, | *J *■] | *| that, | like | so many | Alex | anders, | 
Have, in | these | parts, | **! from | morn till | even | fought, | 
""l And | sheathed their | swords | **] for | lack of | argu- 
ment, i *i "i n *i i 

*" Dis- | honor not your | mothers. | **] *l | Now at- | test | 
**] That | those whom you | called | fathers, | did be- | get 

you! 
*1 Be | copy | now, | *"] to | men of | grosser | blood, | **J **] | 
*| And | teach them ] how to | war ! | *] *] | *] *] | 

**] And | you, | good | yeomen, | 
**] Whose | limbs were | made in | England, | show us | here | 
**j The | mettle of your ] pasture j | **j *< [ let us | swear ] 
*| That you are | worth your | breeding : | *] *] | which I | 

doubt not. | 
*j *< | For there is | none of you | so | mean and | base | 
w , That | hath not | noble | lustre | **j in your | eyes. | **]**] | *j*] | 
**| 1 1 see you | stand, | like | greyhounds | '•J in the | slips, | **M 
Straining | **| upon the | start. | ^j **j | 

**| The | game's a- | foot, | *] *] | 

' Follow your | spirit : | *j *] | and upon | this | charge, | 

Cry, | God for | Harry ! | g M | England ! | ~] and Saint ,' 

George I | *j *| | *| *| | 

Shakspeare. 



EXERCISES. 



231 



SIR WALTER RALEIGH TO HIS SON. 

M A- | mongst | all I other | things m | this | world, | ^ **| 
| take | care of thy es- | tate, | ^ which | thou shalt | ever 
pre- | serve | if thou ob- | serve | three | things. | *1 *i | *1 *1 | 
First, that thou | know | what thou | hast | Hj and | what | 
everything thou | hast is | worth, | **| to | see that thou | art 
not | wasted by thy | servants and | officers. | **j The | second 
| is, that thou | never | spend | anything | **| be- | fore thou | 
have it ; | *1 for | borrowing | **| is the J canker and | death of 
| every man's es- | tate. | **| **| | **| The | third | is, that thou | 
suffer not thy- | self to be | wounded for | other men's | faults, 
| **] and | scourged for [ other men's of- | fences, | which is 
the | surety for an- | other, | *"] for | thereby | millions of | 
men have been | beggared | **| and de- | stroyed, | paying the 
| reckoning of | other men's | riot | **j and the | charge of | 
other men's | folly | **| and | prodi- | gality. | **| **| | If thou | 
smart, | smart for thy | own | sins; | **| and, a- | bove | all 
things, | ^ *1 | be not | made an | ass | **] to | carry the | 
burdens of | other | men. | **] If | any | friend de- | sire thee 
to | be his | surety, [ *1 ""j | give him a | part of | what thou | 
hast to | spare ; | **] if he | press thee | further, | *| he is | not 
thy | friend ; | *\ for | friendship | rather | chooseth | harm to 
it- | self | *"] than | offereth it. | **] **] | If thou be | bound for a 



232 GRAMMAR OF ELOCUTION. 

| stranger, | *| *f | thou art a | fool ; | *-*j *] | if for a | merchant, 
| H thou | puttest thy es- | tate to | learn to | swim ; | ** **f] 
if for a | churchman, | **| he hath | no in- | heritance ; \ **[ M| 
if for a | lawyer, | **j he will | find a | word or a | syllable | *| 
to a- | buse thee; | ^j ^| | if for a | poor man, | w j thou must j 
pay it thy- | self; | **| **| | if for a | rich man, | *"1 he | needs 
it not : | *1 *! | therefore from | suretyship, | as from a | man- 
slayer | *1 or en- | chanter, | **] **] | bless thyself; | **j for the | 
best | profit and re- | turn will be | this ; | **] that | if thou | 
force | him for | whom thou art | bound | "*] to | pay it him- | 
self, | **\ he will be- | come thine | enemy ; | *"] **] | if thou | 
use to | pay it thy- | self, | thou wilt be a | beggar. | *"j **] | **j 
Be- | lieve thy | father in | this, and | print it in thy | 
thoughts; | *| that | what | virtue so- | ever thou | hast, | **j 
be it | ever so | manifold, | **| **| | if thou art | poor withal, | 
M *"] | thou and thy | qualities | **| shall | be des- | pised. | **J 
Be- | sides, | poverty is | often | sent as a | curse of | God. | 
^ ^J | It is a ] shame among | men, | **| an im- | prisomnent 
of the | mind, | H a vex- | ation of | every | worthy | spirit. | 
*| ^1 | Thou shalt | neither | help thy- | self or | others. | ~[ *| | 
Thou shalt | drown thee in | all thy | virtues, | knowing | no 
| means to | show them ; | ~] ~] | thou shalt be a | burden | *»] 
and an | eyesore | **| to thy | friends ; | every man will | 
fear thy | company ; | **] *| | thou shalt be | driven | basely to 
| beg, | *] to de- | pend on | others, | *] to | flatter un- | worthy 
| men, | *| to | make dis- | honest | shifts; | **| ^ | and, to con- | 
elude, | *| ^ | poverty pro- | vokes a man | ^ to | do | infamous 
and de- | tested | deeds. \^~\\ Let no | vanity | *| nor per- | 



EXERCISES. 233 

suasion | draw thee to that | worst of | worldly | miseries. | **] 
^j | If thou be | rich | *] it will | give thee | pleasure in | 
health, | **] *"J | comfort in | sickness, | **] *< | keep thy | mind 
and J body j free from | many | perils, J ^ re- j lieve thee in 
thy | elder | years, | *1 re- | lieve the | poor and thy | honest 
| friends, | *1 *1 | give | means to thy pos- J terity J ""j to j live 
to de- | fend them- | selves | **] and thine | own | fame, j **J *"} | 
^1 It is | said in the | Proverbs, | " He shall be | sore ] vexed 
who is | surety for a | stranger." | M **] | " Whoso | hateth | surety- 
ship | ^J is | sure." | **] It is | further | said, | *"j " The | poor 
is j hated | even of his | own | neighbor, | **] but the J rich 
have j many | friends." j *"] **i j "Lend not to | him that is | 
mightier than thy- | self, | *1 for | if thou | lendest him | count 
it but | lost." 



WHAT'S HALLOWED GROUND? 

What's | hallowed | ground ? | **| *| | *| Has | earth a | clod 
**| Its | Maker | meant not | **] should be | trod 
By | man, | **] the | image of his | God, | 

*1 E- | rect and | free, | 
*!| Un- | scourged by | super- | stition's | rod, | 

~] To | bow the | knee ? | *1 *] | 
20* 



234 GRAMMAR OF ELOCUTION. 

What's | hallowed | ground ? j w j w j j where, | mourued and missed, 

**] The | lips re- | pose our | love has | kissed, | 

*| But | where's their | memory's | mansion ? | *"j *"] | Is't 

Yon | church-yard's | bowers ? | *"] *»] | 
No ! | **] in our- | selves their | souls ex- | ist, | 

**] A | part of | ours. | **]**] | 

**| A | kiss can | consecrate the | ground ] 

**j Where | mated | hearts are | mutual | bound : | 

**| The | spot where | loves | first | links were | wound | 

*1 That | ne'er are | riven, | 
**] Is | hallowed | down to | earth's pro- | found, | 

^ And | up to | heaven ! | 

What | hallows | ground where | heroes | sleep ? | **} **J | 
'Tis not the | sculptured | piles you | heap : | **] **] | 
H In | dews that | .heavens | far- | distant | weep, 

**] Their | turf may | bloom ; | 
*"] Or | genii | twine be- | neath the | deep | 

~[ Their | coral | tomb. | *j *•] | 

**! But | strew his | ashes to the | wind, 

*1 Whose | sword or | voice has | saved man- | kind — | 

*1 And is | he | dead, | *"] whose | glorious | mind | 

Lifts | thine on | high ? | 
*] To | live in | hearts we | leave be- | hind, | 

« Is | not to | die. | *H | 



EXERCISES. 235 

~\ Is't I death to | fall for | freedom's | right ? | 1 1 I 
He's | dead a- | lone that | lacks her | light ! | 
*"] And | murder | sullies in | heaven's ] sight, | 

**! The | sword he | draws : | **J *| | 
What can a- | lone en- | noble | fight ? | 

*J A | noble | cause. | 

*1 Give | that : | **] and | welcome | war to | brace 

Her | drums ! | **] and | rend | heaven's | reeking | space ! | 

**1 The | colors | planted | face to | face, | 

**] The | charging | cheer, j 
""j Though | death's | pale | horse | lead on the | chase, 

**| Shall | still be | dear. | ~j ^ | *| ~| | 

What's | hallowed | ground ? | **] 'Tis | what gives | birth 
To | sacred | thoughts in | souls of | worth ! | **j **] [ 
Peace, | **j inde- | pendence ! | **j *| | Truth, | **| go | forth | 

Earth's | compass | round; | 
^J And | your | high | priesthood | ^] shall | make | earth | 

All | hallowed | ground ! | **| **| | 

Campbell. 



230 



CRAM MAR OF ELOCUTION. 



WHAT HAVE WE TO DO WITH SLAVERY? 

*"] Does | any one | ask | *] at | this late | day, | when the 
| giant | wrong, | '-l which our | country j legalizes and | 
fights for, | threatens to | strip us | ^ of the | dearest | attri- 
butes of | freedom and hu- | manity, | **{ does | any one | ask, 
| What have | we to | do | **J with the in- | justice that ex- | 
ists, | -not | here, | but in an- | other | part of the | land ? | ~i 
I | answer | freely, | *] dis- | tinctly, | *] em- | phatically, | 
**] **] | Nothing. | **| In | simple | justice | ~j we | have | no | 
right to have | anything to | do with it. | **] We | have no | 
right to | stand | guard | over it | *[ as we | do | **] with our | un- 
just | prejudices, | more | fatal than | muskets or ar- | til- 
lery. | *] We have | no | right to sur- | render to it | **| the | 
sacred | principle of j freedom of | speech as we j have done. 
| *"| "*] | We have | no | right to af- | ford it the | broad pro- | 
tection of our j silence, | **\ as we | do. | **J We have | no | 
right to al- 1 low it to | flourish in the | capital of the | nation, 
| *"| as we | do. | *[ We have | no | right to | aid in ex- | tend- 
ing, and per- | petuating, and | fighting for it, | *"] as, may | 
God have | mercy upon us ! | **j we are | doing. | As we are | 
doing | all | these | unjust | things, | **] we are | guilty of | 
inter- | fering, | most im- | pertinently, | **\ with | things with 
[ which we | have no | right to inter- | fere. | *| **] | We must 



EXERCISES. 237 

I turn over a | new | leaf, | **j and | learn, | hard as the | les- 
son may | be, | **] to | mind | every one his | own | business. | 
**!**] | **1 And | what is our | business ? | *1 *1 I ^ Tnv > to | do | 
justly. | **J *"j | **j It is | what | God | specially re- | quires of 
us, | w | to | cease from doing | evil j | *j to main- | tain free- 
dom of | speech, | *] **, | that | precious | thing, | **] with- | 
out | which our | civil se- | curity | is but | stubble, | **] which 
the | out- | bursting | fires of | violent | passions | may, at | 
any | moment, con- | sume; | **| to | guard the | public | 
liberties | **} in the | person of the | meanest of the | 
| land; | h to de- | stroy in- | justice of | all kinds, | ""j and | 
let the | voice of hu- | manity, | "■*] the | swelling | key-note 
of the | world, | ^ be ] heard, | pleading for the | right. | ■*] 
""I | This is the | business, | **j **J | this the | just | thing which 
we | have to | do, | every | man and | woman of us, | **j and 
of | which, | **J as | surely as we are | here this | day, | **| we 
must | give an ac- | count. | *"| ^ | **] I | caution you, | | 
men, | as you would pos- | sess the | good which | God hath 
| showed you | **] and | do what | he re- | quires, | *"j ~] | take 
care | how you | meddle any | longer, | ^ or | countenance | 
others in | meddling, | **] with the in- ] alienable | rights of 
your | fellow men. [ **j **| | That is inter- | ference with | other 
men's | matters, | ^\ with | which | they are | chargeable | *-i 
who | hold | men and | women as their | property | **J to be 
! bought and | sold. 

It is an | insult to our | common hu- | manity. | **j It | 
must | come to an | end, | « and it | will j | *| *] | let the I 
blood of the | nation be | poured out | ever so | freely to per- 
| petuate it. | **] For | God hath | showed thee, | | man, | 



238 GRAMMAR OF ELOCUTION. 

what is | good, | **| and | what does | he re- | quire of us, | 
but that we | do | justly? | **j He has | written it | ^ in our | 
hearts, | **j and his | providence is | bringing | out the di- | 
vine | hand-writing | *| in | ever | clearer and | more | flaming 
| characters, | ** un- | til it shall | flash con- | viction on the 
| darkest | mind. 

Furness. 



THE OLD MAN'S SONG. 

Down to the | vale | **| the | water | steers ; | 

**j How [ merrily it | goes ! | 
*| 'Twill [ murmur | on a | thousand | years, | *] ' 

w l And | flow | ^ as | now it | flows. | **| *j | **J 

**] And | here, | **] on | this de- | lightful | day, | 

**} I | cannot | choose but | think | 
**j How | oft, | ^| a | vigorous | man, I | lay 

~j Be- | side this | fountain | brink. 

**] My | eyes are | dim with | childish | tears, | 

H My | heart is | idly | stirred, | 
*j For the | same | sound is in my | ears, J 

**j Which in | those ] days I | heard. [ *j *J j 



EXERCISES. 239 

Thus I fares it | ill in our de- | cay, | 

^J And | yet the | wiser | mind | 
Mourns | less for | what it | takes a- | way, | 

H Than | what it | leaves be- | hind. | *j **| | 

^j The | blackbird in the | summer | trees, | 

*1 The | lark upon the | hill, | ~\ ~] \ 
""j Let | loose their | carols | when they | please, | 

*1 Are | quiet | when they | will. | **! **| | 

*] "With | nature | never do they | wage 

A | foolish | strife : | **j they | see 
A | happy | youth, | *"1 and their | old ( age, | 

""j Is | beautiful | •*) and | free. | H **| | 

**| But | we are | pressed by | heavy | laws, | 

^| And | often | glad no | more : | 
*"| We | wear a | face of | joy, | *"! be- | cause 

We | have been | glad of | yore. | ""j *< | **| **j | 

If there be | one who | need be- | moan | 

^ His | kindred | laid in | earth, | 
**| The | household f hearts | **| that | were his | own, | 

""J It is the | man of | mirth. | **] H | 

WoT?T)SWOPTJT. 



240 GRAMMAR OF ELOCUTION. 



SOLILOQUY OF MCHAKD III. 

*1 Tis | now the | dead of | night; | ~\~\ \ *\ and | half the 

| world | *| *j | 
Is in a | lonely, | solemn | darkness | hung. | 
**| Yet | I, | ^ (so | coy a | dame is | sleep to | me,) | 
"*] With | all the | weary | courtship | **] of my | care-tired | 
Thoughts, | **| can't | win her to my | bed; | 
**| Though | e'en the | stars do | wink, | **] as | 'twere with | 

over- | watching. | 
*| I'll | forth | *| and | walk a- | while; | ~] the | air's re- | 

freshing; | 
M Aud the | ripe | harvest | **j of the | new mown | hay **| | 
Gives it a | sweet and | wholesome | odor. | 
**| How | awful | **| is this | gloom ! | **{ and | hark ! | ~j from 

| camp to | camp 
M The | hum of | either | army | stilly | sounds ; | 
**| That the | fixed | sentinels | almost re- | ceive | 
*] The | secret | whispers | *[ of each | other's | watch. | *|*^ | 
Steed | threat ci) s | steed, | *\ in | high and | boastful | neigh- 
ing* I 1 *1 I 
Piercing the | night's | dull ^ | ear. | -j •] | ~] -j | Hark, | -| 

from the | tents, | 



EXERCISES* 241 

^j The | armorers ac- | complishing the | knights, | 
**| With | clink of | hammers | closing | rivets up, | 
*] Give | dreadful | note of | prepa- | ration; | *i while | 

some, | 
**1 Like | sacrifices, | *»| by their | fires of | watch, | 
*\ With | patience | sit, | *] and | inly ] ruminate | 
^|The | morning's | danger. | By yon | heaven, my | stern 
Im- | patience | chides this | tardy- | gaited | night, | 
**| That like a | foul and | ugly | witch | *| doth | limp 
So | tediously a- | way. | *"{ **} | I'll to my | couch, | 
*] And | once more | try to | sleep her into | morning. | 

Shakspeare. 



OTHELLO'S ADDRESS TO THE SENATE. 

**] Most | potent, | grave, | *| and | reverend | signiors, | 
^ My | very | noble | **| and ap- 1 proved | good | masters, | H ^j 
That I have | taken a- 1 way | <*] this | old | man's | daughter, | *] *J 
It is | most | true; | **| *\ | true, | *] I have | married her; 
^] The | very | head and | front | *•] of my of- | fending | 
~j Hath | this ex- | tent, | **]**] | **] no | more. | H **| | *1 *J 

Rude | **] am | I in | speech, | 
rj And J little | bless' d | *] with the | set | phrase of | peace J | *]:*$ 
^ For | since | these | arms of | mine | *| had | seven years' | pith, 

21 



242 GRAMMAR OE ELOCUTION. 

*| Till j now | **| some | nine | moons | wasted, | **j they have ; used 
Their | dearest | action | *] in the | tented | field ; | 
*] And | little of | this [ great | world | *| can | 1 1 speak, [*]^| 
More than per- 1 tains to | feats of | broil | **| and | battle ; | *J **j | 
**] And | therefore | little | **] shall I | grace my | cause, | 
**| In | speaking | **j for my- | self : | **j **J | Yet, | **) by your | 

gracious [ patience, | *] **] | 
I will a | round | *\ un- | varnished | tale de- | liver j 
^| Of my | whole | course of | love : | **| what | drugs, | **| 

what | charms, | 
**| What | conju- | ration, | **j and what | mighty | magic, | 
**| (For | such pro- | ceeding | **| I am | charged with- | al,) | 
**] I | won his | daughter | with. | **] *1 | **}**! | 
h Her | father | loved me; | **] ^ | oft in- | vited me ; 1*1*11 
Still | questioned me | **] the | story of my | life, | 
•j From | year to [ year; | **|**J | **! the | battles, | **J**] | sieges, 

| *I *i | fortunes, | 
That I have | past. | *) *1 j **j **J | 

**| I | ran it ] through, | even from my | boyish | days, | 
**| To the | very | moment | **] that he | bade me | tell it. | 
**} Where- | in I | spoke | *| of | most dis- 1 astrous | chances, | 
**1 Of | moving | accidents, | **| by | flood, and | field : | 
*] Of | hair-breadth | 'scapes | *"] in the | imminent | deadly | 

breach ; | ""i **] | 
**l Of | being | taken | *"] by the | insolent | foe, | 
**J And | sold to | slavery ; | **| *] | **1 of my re- | demption | 

thence j | *| **| | 
N| Of | battles | bravely, 1*1*11 hardly | fought; | *1 1 | *J 

of I victories I 



EXERCISES. 243 

*"| For | which the | conqueror | mourn' d, | *l *"j | so | many | 

fell !-| *1 *1 1 *n | 
Sometimes | **] I | told the | story of a | siege, | 
**] Where- | in I | had to | combat | plagues and | famine, | **j *] 
Soldiers | *\ un- | paid ; | **} **] |" fearful to | fight, | **] yet | bold 
*1 In | dangerous | mutiny. | **! *1 | **| **| | 
These | things to | hear, | 

*"| Would | Desde- | mona | *"j *j | seriously in- | cline : | **j *1 
*1 But | still | *< the | house af- | fairs | **] would | draw her 

thence; | 
H Which | ever | **] as she | could with | haste de- | spatch ; 
*\ She'd | come a- | gain, | and with a | greedy | ear | 
*] De- ] vour up | ^ my dis- | course : | **| '■j | **] which | I ob- 
serving, 1^11 
Took | once a | pliant | hour; | *] ^] | *1 and | found | good 

means | 
^] To | draw from her | w . a | prayer of | earnest | heart, | **J *| 
That I would | all my | pilgrimage | *1 di- | late, | 
**] Where- | of by | parcels | **| she had | something | heard, 
*] But J not dis- | tinctively : | **] *[ \ *[ **] | I did con- | sent ; 
**| And | often | **] did be- | guile her | **J of her tears, | *| **| 
When I did | speak of | some dis- | tressful | stroke, | 
*] That my | youth | suffered. | ~| *\ | *] ~\ | ~j My | story 

being | done, | 
*] She | gave me | **] for my | pains | *[ a | world of | sighs : | *] *| 
**] She | swore, — | h In | faith, | **j 'twas | strange, | **j 'twas 

passing | strange ; | "**] **] | 
*] 'Twas | pitiful, | **l 'twas | wonderous | pitiful : | *»j *| | 
**| She | wished she | had not | heard it ; | *| **| | yet she | wished 



244 GRAMMAR OF ELOCUTION. 

That | heaven had | made | her | such a | man ; | **] •*] | **j she 

| thanked me; | *1 *1 | 
*1 And | bade me, | *| **| | if I had a | friend that | loved her, | 
*] I | should but | teach him | how to | tell | my | story, | 
*| And | that would | woo her. | **| ** | ~] *| | *| Upon | this | 

hint, IT I | spake : | ~] **j | ~j «| | 
**J She | loved me | *1 for the | dangers | ^ I had | pass'd ; | **j **| | 
^1 And | I | loved | her, | that she did | pity them. | *l **| | 
This | only | *| is the | witchcraft | ~j I have | used. | *1 *1| *1 *1 1 

SflAKSPEARE. 



FREEDOM. 

He is the | freeman | ^] whom the | truth makes | free ; | *1 *1 | 
**J And | all are | slaves be- | side. | ^ There's | not a | 

chain | 
** That | hellish | foes, con- | federate for his | harm, | 
**| Can | wind a- | round him, | **j but he | casts it | off | 
**] With as | much | ease | **| as | Samson his | green | 

withes. | *1 *1 | 
*1 He | looks a- | broad | *| into the | varied | field 
Of | nature, | ^ and | though | poor, per- | haps, com- | pared 
With | those whose | mansions | glitter in his | sight, 1*1*11 
Calls the de- | lightful | scenery | all his | own. 



EXERCISES. 246 

His are the | mountains ; | *| and the | valleys [ his ; | 

And the re- | splendent | rivers ! | **] *1 | his to en- | joy | 

With a pro- | priety that | none can | feel | 

""] But | who with | filial j confidence in- | spired | 

**| Can | lift to | heaven an | unpre- | sumptuous | eye, | 

**j And, | smiling, | say, | **| " My | Father | made them | 

aii r'l^i 

Are they not | his | **] by a pe- | culiar | right, | 

And by an | emphasis of | interest | his, | 

•} "Whose | eye they | fill with | tears of | holy | joy, | 

•J Whose | heart with | praise, | **] and | whose ex- | alted | 

mind, | 
""j With | worthy | thoughts of ] that un- | wearied | love, | 
^ That | plan'd and | built, | ~j and | still up- | holds a | world | 
So | clothed with | beauty, | *< for re- | bellious | man ? 

Yes — | ^ ye may ] fill your | garners, | *! *| | ye that | reap 
The | loaded | soil, 1*1*11 and ye may | waste | much | 

good | 
*1 In | senseless | riot ; | **J *| | **| but ye | will not | find 
In | feast | **| "■*] | or in the | chase, | **) in | song | *] or | 

dance, | 
**1 A | liberty like | his, | *] who, | unim- | peached | 
**[ Of | usur- | patiou, | *] *j | and to | no man's | wrong, | 
**} Ap- | propriates | nature | ^j as his | Father's | work, | 
*"] And | has a | richer | use of | yours | **] than | you. | *] *] | 
He is in- | deed a | freeman : | *] *] | free by | birth 
Of | no j mean | city, ] planned or | ere the j hills 
Were | built, | **| the | fountains | opened, | *J or the | sea, | 

21* 



246 GRAMMAR OF ELOCUTION. 

*| With | all his | roaring | multitude of | waves. 1*1*11 

His | freedom is the | same in | every | state, | 

*] And | no con- | dition of this | changeful life, 

So | manifold in | cares, | *| whose | every | day | 

Brings its | own | evil | with it, | *] *] | makes it | less ; | *] *| | 

For he has | wings, | *] that | neither | sickness, | pain, 

Nor | penury, | *] can | cripple or con- | fine : | *| *] | 

No | nook | so | narrow, | *] but he | spreads them | there 

With | ease, | *j and is at | large : | *] The op- | pressor | holds 

His | body | bound, | *] but | knows not | what a | range | 

*] His | spirit | takes, | *] un- | conscious of a | chain ; | *] *1 | 

And that to | bind | him | *| is a | vain at- | tempt, | 

*] Whom | God de- 1 lights in, | and in | whom | He | dwells. | 

COWPER. 



LEONATO'S GRIEF AT THE LOSS OF HIS 
DAUGHTER. 

*] In I misery | counsel is of | no | weight. 

*] I | pray thee, | cease thy | counsel, | 

*| Which | falls into mine | ears as | profitless 

As | water in a | sieve : | *| *] | give not | me | counsel : | 

*] Nor | let no | comforter de- | light mine | ear, | 

*] But | such a one | *i whose | wrongs do | suit with 

mine. | *] *] | 
Bring me a | father that | so | loved his | child, | 



EXERCISES. 247 

*j Whose | joy of her is | over- | whelmed like | mine, | 
**] And | bid [ him | speak of | patience ; | M **| | 
Measure his | woe the | length and | breadth of | mine, 
*"l And | let it | answer | every | strain for | strain, | 
**] As | thus for | thus, and | such a | grief for | such, | 
**] In | every | lineament, | branch, | shape, and | form : | 
*[ If | such a one will | smile, and | stroke his | beard ; | 
*| Cry — | sorrow, | wag ! | **] and | hem, | *i **j | when he should | 

groan ; | *\ H | 
Patch | grief with | proverbs; | *] **] | make mis- | fortune | 

drunk 
"With | candle-wasters : | *] *j | bring him | yet to | me, | 
**J And | I of | him will | gather | patience. | *j *\ | **] *j | 
w { But | there is ] no | such | man : | *\ for, | brother, | men 
Can | counsel, and | speak | comfort to that | grief 
Which | they them- | selves not | feel ) | *| but, | tasting it, | 
*i Their | counsel | turns to | passion? | *| which be- | fore 
Would | give pre- | ceptial | medicine to | rage, | *J **[ \ 
Fetter | strong | madness in a | silken | thread, | *"] **| | 
Charm | ache with | air, and | agony with | words. | w j '•J | 
No, | no ; 'tis | all men's | office to | speak | patience 
**j To | those that | wring under the | load of | sorrow : | 
**j But | no man's | virtue, nor suf- | ficiency, | 
*\ To | be so | moral, | when he shall en- | dure 
The | like him- | self : | **J **! | therefore | give me no | coun- 
sel, | 
**} My | griefs cry | louder than ad- [ vertisement. | **| *] | *1 **| \ 

Shakspeare. 



248 GRAMMAR OF ELOCUTION. 



CHARITY TO OPINION. 

After | all the | expla- | nation of the | simple | principles 
of re- | ligious | freedom, | *»] to | which the | world has j 
listened, | *| M | men | still | find a | difficulty in | under- | 
standing | **| how | zeal and | charity can | dwell to- | gether 
in the | same | bosom — | *j **l | how a | man can be | warmly 
at- | tached to his | own | views, | **j and at the | same | time 
| kindly dis- | posed | *"1 towards | every | fair | effort that 
| may be | made in | favor of | opposite o- | pinions. | *] The | 
charity which | we would | cultivate | **] is | no in- | explicable 
| feeling, | *] and, I | trust, | no | hollow pre- | tension. | *j 
As we | seek the | truth, | **] and | as we must be | conscious 
that our | own | views, how- | ever | warmly | held, | **| have 
| been | formed | under a | lia- | bility to | error, | ^ *< | wo 
have | one | interest with | all | those who | give us | reason 
to be- | lieve that they | cherish the | same | feeling, | *1 
what- | ever their par- | ticular o- | pinions may | be. | **j **] | 
There is a | fellowship | ^ be- | tween | them and | us, | *| in 
com- | parison with | which the | ties of [ sect, | **] of | creeds, 
| **] and | articles, | **J and | written | formulas, | **] are as the 
| dead | letter to the | un- | dying | spirit — | **i as | matter to | 
mind. | ~] **] | *\ ^ | It is a | fellowship | **| which | no | 
difference of o- | pinion can dis- | turb, | **! ", | no | distance 



EXERCISES. 249 

of I space or | time de- | stroy. | **J It | gathers into | one | 
glorious | company | all the [ real | lovers of | truth, | **j of | 
all | time, | *■*] from a- | mong | all | people. | nations, and | 
languages. | **J **| | 

**} Al- | though the | doctrine of re- | ligious | liberty is | so 
| plain, | **| and it is | so much for the | interest of | every 
de- | nomi- | nation of | Christians | **] to | cling to it, | **| it 
is im- | portant to ob- | serve | **] that there is a | spirit a- | 
broad di- | rectly op- | posed to it. | ^J *"] | And it be- | comes 
us ; | *] it be- | comes | every one who | cares for the | truth 
and for | liberty, | **| to | watch that | spirit | closely. | **J It | 
shows itself | *1 in | every | effort which is | made to in- | 
timidate the | minds of | men — | **] to | scare them a- | way 
from the | exami- | nation of | any par- | ticular o- | pinions, 
| *1 in | every | dispo- | sition | *i which is e- | vinced to pre- | 
vent them from | reading | what | others have | written, | **| 
and from | hearing what | others | have to | say. | *i *1 1 What 
is | this | spirit but the | same that in | former | times | mani- 
fested it- | self in | still | grosser vio- | lations of | common | 
justice; | *"| that was | not | satisfied with over- | powering 
men's | minds | **] by | denunci- | ations of | future | woe, | **] 
by ap- | pealing to their re- | ligious | fears, | **] but | aimed | 
also to | visit them with the ] swift | vengeance of the | tem- 
poral | power, | *"j when- | ever they | ventured to | think | 
differently | M , from the es- | tablished | way. | *< And to | 
what but the | same un- | hallowed | practices | **] would | 
this | spirit | lead | now, | were it al- | lowed to [ strengthen 
itself a- | gain ? | ^j It would | bring | back | ages of | igno- 
rance, | ^!^| | ages of | mental and po- I litical | servitude. 1*1^1 



250 GRAMMAR OF ELOCUTION. 

**] But | not to | mention the in- | fringement of the | sacred | 
rights of the | mind with | which it is | chargeable, | *] are | 
they who | cherish it | *"] at | all a- | ware | **j how di- | rectly 
it is | calculated to | injure their | own | cause and | ruin 
their J own | best | hopes ? | **| *1 | You are in pur- | suit of 
the | truth. | **] *1 | **j **| | When you | seek to | terrify your | 
fellow-men | **] from | going in a | certain di- | rection in o- | 
pinion, | ~] **] | how do you | know but | that you are | shut- 
ting out | their | souls | **| and your | own | *1 from the | 
ways of | light and | glory? | ^ **] | **] **j | " Ah ! but we are 
con- | vinced that we are | right/ ' | *\ you | say, | **j " and | 
if we | were to con- | sent, that | what we con- | sider er- | 
roneous | views should | have as | fair a | hearing as we | give 
to cor- | rect o- | pinions, | **J the | former | ^ would be- 1 come 
as | prevalent as the | latter." 1*1*11*1*11 What a | miser- 
able i- | dea you must | have of the | truth ! | **| *\ | **] **] | Is 
it | so, that | truth and | error | **| are so | little dis- 1 tinguish- 
able ? | **j **| | **J **] | How, | then, do | you | happen to | be 
so | confident ? | *j *?] | *| **| | Be as- | sured that | if they are 
| freely and | closely ex- | amined, | **| as they | never | have 
been and | never | will be, ex- 1 cept where | perfect | freedom 
of | mind is es- | tablished, | **J that | truth will ex- | eel in | 
beauty and | power | everything | **] that is op- | posed to it, | 
**i as | much as the un- | measured | dome of the | heavens | ^ 
trans- | cends this | humble | fabric | **] which | human | 
hands have | reared. | *1 1 | *1 *1 | 

W. H. Furnesf. 



EXERCISES- 251 



BARNES ON SLAVERY. 

*l In I estimating the | influence of the | church | **| on the 
| subject of | slavery, | **| and the | tendency of the | represen- 
| tations | made on the | subject, | **| it de- | serves to be con- 
| sidered | how much is | done by | these j represen- | tations 
| **] to pro- | mote infi- ] delity. | **j *"i | **| **j | There is a | deep 
and | growing con- | viction in the | minds of the | mass of 
man- | kind | **} that | slavery | violates | great | laws of our | 
nature ; | *1 that it is | contrary to the [ dictates of hu- | ina- 
nity ; | *] that it is es- | sentially un- | just, | *J op- | pressive, 
and | cruel ; [ *| that it in- | vades the | rights of | liberty | ~\ 
with | which the | Author of our | being has en- | dowed | 
all | human | beings; | and that, in | all the | forms in | 
which it has | ever ex- 1 isted, **j | it has | been im- 1 possible to 
| guard it from | what its | friends and | advocates would | 
call " a- \ buses of the | system." | ^ *] | *] *j | It is a | vio- | 
lation of the | first | sentiments ex- | pressed in our | Decla- | 
ration of | Inde- | pendence, | *1 and on [ which our | fathers 
| founded the | vindi- | cation of their | own | conduct | **J in 
an ap- | peal to | arms ; | ^ *| | it is at | war with | all that a 
| man | claims for him- | self and for his | own | children ; | 
** **j | and it is op- | posed to | all the | struggles of man- | 
kind, in | all | ages, | **J for freedom. | **j The | claims of hu- 



252 GRAMMAR OF ELOCUTION. 

| inanity | plead a- | gainst it. | **| The | struggles for | freedom 
| everywhere in our | world con- | demn it. | *j The in- | 
stinctive | feeliDg in | every man's | own | bosom in re- | gard 
to him- | self | *j is a | condem- | nation of it. | *] The \ 
noblest | deeds of | valor and of | patriotism | ^ in our | own 
| land, and in | all | lands where | men have | struggled for | 
freedom, | *»| are a | condem- | nation of the | system. | **] ^ 
| **!*] | All that is | noble in | man is op- | posed to it. | **1 **| | 
All that is | base, | **] op- | pressive, | Tj and | cruel, | pleads for 
it. | "T*] | ^ *1| It is con- 1 demned by the in- | stinctive | feel- 
ings of the | human | soul ; | **] w j | it is con- | demned by the 
| principles | laid | down in the | books on mo- | rality that 
are | placed in the | hands of the | young; | **| it is con- | 
demned by the | uni- | versal | voice of | history. | **\ There 
is | nothing on | which the | sentiments of | men out- | side 
of the [ church are | coming to be | more har- | monious | *! 
than in re- [ gard to the es- | sential | evil of | slavery; | *j 
there is [ nothing to | which the | course of | things in the | 
world, | under the | promptings of hu- | manity, | *j is | more 
| certainly | tending | **j in | all | lands, | than to the con- | 
viction that | slavery is es- | sentially | evil and | wrong, | *< 
and that | every | human | being, | *"1 un- | less con- | victed 
of | crime, | ^ has a | right to | freedom. | *| There is | no- 
thing that | finds a | more | hearty appro- | bation from the I 
world at | large | *\ than an | act of e- | manci- | pation | *| b^ 
a | government j | *j there is | nothing that | goes | more | per- 
manently | into the | history of a | nation, | **] than the | changes 
in | public af- | fairs | **| which re- | suit in | such an | act. | 
~| There | has been | nothiug that has | more | definitely | 



EXERCISES. 253 

marked the | course of | history, | **| or | constituted | more | 
marked | epochs in | history, | **J than the sue- | cessive | 
steps which | break the [ bonds of | slavery, | **| and | elevate 
j men to the | rank and | dignity of | freemen. | 

*"] It is | now im- | possible to con- | vince the | world that 
| slavery is | right, | **| ""j | or is in ac- | cordance with the | 
will of | God. | ^1 ^1 | No de- | cisions of | councils or | synods, 
j ^| and | no ] teachings of a | hierarchy, | **] will | change 
the | onward | course of o- | pinion on | this | subject. | No 
al- | leged au- | thority of the | Bible will | satisfy | men at | 
large | ^J that the | system is | not | always a | vio- | lation 
of the | laws that | God had en- | stamped on the | human | 
soul. | **| *"| | No a- 1 pologies | for it | **| will | take it | out of the 
| category of | crime | **j in the | esti- | mation of man- | kind 
at | large, and | place it in the | category of | virtues. | **] **] | 
**j M | *\ The | sentiment | **] that it is | wrong | M**i | — always 
I wrong | "*j ^1 | — that it is a | vio- | lation of the | great | 
laws of our | being, | — **| that it is | contrary to the be- 1 nevo- 
lent ar- | rangements of the | Maker of the | race, | — H is be- 
! coming as | fixed as the | ever- | lasting | hills; | **| and | 
nothing can e- | radicate this ] sentiment *1 | **| from the | 
hearts of man- | kind. | *i ^ | ^ *-| | 

This | sentiment is be- | coming | deeper and | deeper in 
the con- | victions of the | world | every | year ; | *j and, what- 
j* ever may | change, | ** t **l | this is | destined to re- | main 
un- | changeably | fixed. | *] There is | nothing | more | cer- 
tain | ""j *} | than that the | world will | not be | brought to 
ap- | prove of | slavery, j *] "\ | and that the | male- | diction 
of | all | good | men will | rest upon the | system. | **| **| | No 
22 



254 GRAMMAR OF ELOCUTION. 

| matter on | what this | sentiment im- | pinges, | *»J it will 
be | held ; | *| and | nothing will be | long | held | **| that is 
op- | posed to this | deep con- | viction | **| of the es- | sential 
| evil of the | system. | *1 **| | *] **; | 



CREDIBILITY OF MIRACLES. 

If there is a | sound | principle of | thought and in- 1 quiry, 
| '•J it | is that a | new j fact is | not to be re- | jected | simply 
be- | cause it is | new | **] and un- | precedented ; | *i nor | is 
it to be ac- | counted an | inter- | ruption of the | laws of | 
nature ; | **| ""i | but we are to | take it for | granted | ^ that 
it | is to be re- | ferred to | some | law of | which we | have 
as | yet | no | knowledge. | **]**! | *| *] | This is the | princi- 
ple | ** which is ob- | served by | all in- | quirers in the | 
fields of | science. | **] They | do not re- | ject | new | facts 
be- | cause they are | new, | **| nor | do they pro- | nounce them 
| vio- | lations of the | laws of | nature | **| be- | cause they | 
contra- | diet their ex- | perience. | **! *, | **i **, | It is the | 
mark of an | un- | cultivated | mind, | **| * , | that it re- | jects | 
all j facts, | no matter | how well au- | thenticated, | **] which 
| do not ac- | cord with its | own ex- | perience. | **| A | true 
phi- | losophy | teaches us to ex- | pect | new and un- | prece- 
dented | facts in | this | great | universe, | *J where the j 
circle of | man's | knowledge is | so | small ; | *| and the | 



EXERCISES. 255 

history of | science | *] is con- | tinually | bringing us ac- | 
quainted with. | new | facts. | *\ **| | What | new | glimpses 
are | men ob- | taining | *] of the | wondrous re- | lations of | 
mind to | mind, | *| and of | mind to | matter ! | *| ~] | ** I | 
say, | therefore, | H that we are | bound to | come to the | 
exami- | nation of the | wonders of the | life of | Jesus, | H 
with | no pre- | sumption a- | gainst them | **| a- | rising | out 
of their | novelty. I **| *"| | **| Our | sole | business is to | ascer- | 
tain the | facts, | **| and | we must en- | deavor to | see | 
whether | they are in | harmony with the | character of | 
Christ. | *J *j | ~\ H | 

m t The | Gospels, it is | evident, | repre- | sent | Christ as 
pos- | sessed | naturally of a | wonder-working | power. | ^ **j | 
All that we | have to de- | termine | is, | **! **| [ Did he | ex- 
ercise this | power in | harmony with | all his [ own and | all 
the | other | powers of | nature ? | **J *"j | "Was the | action of 
this | power | marked by the | style, | genius, | spirit | *"j of | 
nature and of | God ? | **] """j | *| But my | meaning will be | 
best | shown by an ex- | ample. | *"] •*] | **] **| | Take the | 
incident of the | cure of the | withered | hand. | **j *"j | Just 
con- | sider the | case. | *1 **j | Jesus | went into a | synagogue, 
| **] a | Jewish | place of | worship — | *\ a | Jewish | church. | **j 
The | people | crowded to | see and | hear him. | *\ *"| | M **j | 
There was a | man | present | who had a | withered | hand. | 

1 *1 I *1 1 I Jesus I bade tim I stand I fortn - 1 *1 1 I 1 There 
were | present, | also, | some of the | higher | class of the | 
Jews, | **j indi- | viduals who | under- | took to | guide and | 
rule in | matters of re- | ligion. | **| *"| | **| They were | jealous 
of the | power | **j and | popu- | larity of this | young Naza- | 



256 GRAMMAR OF ELOCUTION. 

rene; | *] and | so | blinded and de- | praved | were they, | *"! 
that they | watched | Jesus to | see | if he would per- | form 
a | cure on the | Sabbath, | *| and | thus | violate the | 
sanctity of the | day. | *\ *| | *| M | 

*1 To | these indi- | viduals, | who, | no doubt, | occupied | 
**| a con- | spicuous | place in the | synagogue, | **| **] | Jesus | 
turned and | said, | *i **] | *1 " Is it | lawful to | do I well or to | 
do | ill on the | Sabbath [ day, | *i to | save | life or to | kill ?" 
I **1 *1 1 *1 *1 I Mark what a | cutting | force there | was in | this 
| question. | It is as | if he had | said, | ^ *l | " Which is | 
violating the | Sabbath, | you or | I? | *| **] | **| *i | I who | 
seek to | do an | act of | mercy, | **| or | you who are | cherish- 
ing an | evil | purpose ? | **| **J | I who would | save | life, | **j or 
you who would | kill me?" | ^j^ | **| **] | *i They | made | no 
re- | ply. M *1 | 1 **] | How | could they? | *| And | then, 
when | Jesus had | looked upon them with | indig- | nation, | 
*] being | grieved for the | hardness of their | hearts, | **] he | 
said to the | man, | ~] *\ | " Stretch | forth thine | hand." | •*] 
*\ | *| *] | ^ And he | stretched it | forth, | ■*] and it was | 
made | whole, as the | other. | *j *i | *] **] | **| And | how 
could he I help j stretching it | out? 1*1*11 Just | put 
your- | self in the | place of | that | man. | **] Im- | agine 
your- | self | standing in | so com- | manding a | presence, | *1 
with a | gazing, | **| ex- | cited | crowd a- | round you; | **| 
and the | rich and | honorable and | great | quailing be- | fore 
the | eye and | silenced by the | words of the | young | peasant 
of | Nazareth, | *1 *1 | and you will | see how the | inmost | 
springs of your | life | must have been | stirred, | *1 and [ how 
you | would have been | prompted to | put forth | new and 



EXERCISES. 257 

un- | wonted | power. | **] I | cannot but be- | lieve such an | 
incident as | this, | **| **] | it is so | perfectly in | harmony with 
the | dignified | character of | Christ. | *| M \*\ <-| | *J It | 
shows him to us | **| in a | character- | istic and com- | mand- 
ing | attitude. | ^ It is | not the | physical ef- | feet which he 
| wrought upon the | man's | limb | "*} that ex- | cites my | 
wonder, | **| but it is his | own im- | perial and | god-like | 
air. | *| *] | This it | is that re- | veals to | me | *J the Di- | 
vinity | **] that was in | Jesus. | **!**! | **■ **1 | 

W. H. Furness. 



COST OF WAR. 

Here | figures ap- | pear to | lose their | functions. | **j **] | 
**j They | seem to | pant | **] as they | toil ] vainly to | repre- | 
sent the e- | normous | sums con- | sumed in | this un- | 
paralleled | waste. | **| **| | **] Our [ own ex- | perience, | mea- 
sured | **l by the con- | cerns of | common | life, | **j **j | does 
not al- | low us | adequately to con- | ceive | **j these | sums. 
| *" 1 **j | *1 Like the | periods of | geo- | logical | time, | "*! or 
the | distances | **] of the | fixed | stars, | **] they | bafile | **] the 
im- | agi- | nation. | **j **] | Look, for | instance, | **j at the | cost 
of this | system | *| to the U- | nited | States. | **] *1 | **] With- 
| out making | any al- 1 lowances | *] for the | loss sus- | tained 
by the with- | drawal of | active | men from pro- | ductive j 
22* 



258 GRAMMAR OF ELOCUTION. 

industry, | **] we | find that | from the a- | doption of the | 
Federal | consti- | tution | down to | eighteen | hundred and 
| forty- | eight, | **j **] | there has been | paid di- | rectly from 
the | national | treasury | **j *< | ^ for the | army and | fortifi- 
| cations | *•] w j | two | hundred and | sixty- | six | millions | 
seven | hundred and | thirteen | thousand | *"] **} | two | hun- 
dred and | nine | dollars. | **[ **| | **j for the | navy | *\ and | its 
ope- | rations, | *] **J | two | hundred and | nine | millions | 
nine | hundred and | ninety- | four | thousand | **J **} | six | 
hundred and | eighty- | seven | dollars. | **! *1 | **j **| | This 
a- | mount, of it- | self, | *| is im- | mense. | *\ **] | **] But 
| this is not | all. | *] **! | **| Re- | garding the mi- | litia | **] 
as | part of the | war | system, | *\ **] | *»] we must | add a | 
moderate | estimate | *i for its | cost | during this | period, | 
^| **] | which, ac- | cording to a | calcu- | lation of an | able 
and | accurate e- | conomist, | **| may be | placed at | one | 
million | five | hundred | thousand | dollars. | **] The | whole 
pre- | sents an | incon- | ceivable | sum | total | **| of | more than 
| two | thousand | millions of | dollars, | *i which have | been | 
dedicated | *\ by our | government | **j to the sup- | port of 
the | war | system; | **j **j | more than | seven | times as | 
much as was | set a- | part by the | government | during the 
| same | period | **] to | all | other | purposes | *■*] whatso- | 
ever. | ^ *| | *| **| j 

Look | now at the | common- | wealth of | Euro- | pean | 
states. | *J *1 j *3 X | do not in- | tend to | speak of the | war 
| debt | under | whose ac- | cumulated | weight | these | 
states are | now | pressed to the | earth. | *| *] | These are 
the | terrible | legacy | ^ of the | past. | *| *| | ~j I re- | fer 



EXERCISES. 259 

di- | rectly to the ex- | isting | war | system, | **] the es- | ta- 
blishment | **] of the | present. | **]**] | **] Ac- | cording to | 
recent | calcu- | lations, | *j its | annual | cost is | not | less than 
a | thousand | million | dollars. | *| **] | **| En- | deavor, for a 
I moment, | **| by a com- | parison with | other | interests, ] 
*| to | grapple with | this | sum. | ^j *] | 

*[ It is | larger than the en- | tire | profit of | all the | 
commerce and | manu- | factures of the | world. | *1 ^ | 

**] It is | larger than | all the ex- | penditure | "*j for ] agri- 
| cultural | labor, | **| for the pro- | duction of | food for | man, 
| *] upon the | whole | surface of the ] globe. | **| **j | 

**| It is | larger, by a | hundred | millions, | *| than the a- | 
mount of | all the | exports of | all the | nations of the | 
earth. | *j ~] | 

^| It is | larger, by | more than | five | hundred | millions, 
| **| than the | value of | all the | shipping | *"| of the | civil- 
ized | world. 

^ It is | larger, | ^by | nine | hundred and | ninety- 1 seven 
millions, | **] than the | annual com- | bined | charities of | 
Europe and A- | merica for | preaching the | Gospel to the | 
heathen. | ^ ^J | **] *] 

Yes ! | **j the | common- | wealth of | Christian | states, | *"] 
in- | eluding our | own | country, | **| ap- | propriates, | "*] with- | 
out hesi- | tation, | **] as a | matter of | course, | **] **| | up- 
wards of a | thousand | millions of | dollars | annually | **j to 
the | maintenance of the | war system, | *1 and | vaunts its | 
two | millions of | dollars, | *| la- | boriously col- | lected, | **| 
for dif- | fusing the | light of the | Gospel in | foreign j land? ! 
j *] With | un- | told | prodi- j gality of | cost \ **| it per- | petu- 



260 GRAMMAR OF ELOCUTION'. 

ates the | worst ] heathenism of | war, | **| «*} | while by | 
charities, | insig- 1 nificant | ^ in com- 1 parison, | **] it | doles to the 
| heathen the | message of | peace ! | *i At | home it | breeds 
and | fattens a | cloud of | eagles and | vultures | ^ **| | 
trained to | swoop upon the | land; | *1 **i | **j to | all the | 
gentiles a- | cross the | sea | *| it dis- | misses a | solitary | 
dove! 

^j Con- | sider the pro- | digious | sums, | **] ex- | ceeding 
in | all | two | thousand | millions of | dollars, | **!**] | squan- 
dered | **j by the U- | nited | States | **| **] | since the a- | dop- 
tion of the | Federal | consti- | tution, | **1 in sup- | port of 
the | war | system. | •] **| | Surely, if | these | means had | 
been de- | voted to | railroads | *< and ca- 1 nals, | *< to schools 
and | colleges, | **| our | country | **| would pos- | sess, at the 
| present | moment, | *\ an ac- | cumulated ma- | terial | power, 
| **| *"1 | grander | far | *\ than | any she | now | boasts. | **] **| 
| But there is an- | other | power of | more un- | failing | 
temper, | *1 which would | also be | hers. | **] **] | Over- | 
flowing | **| with in- | telligence, | ^| with | charity, | ** with 
| civili- | zation, | ""J with | all that | constitutes a | generous | 
state, | **! **! | she would be | able to | win | peaceful | triumphs, 
| **] trans- | cending | all she has | yet a- | chieved ; | *j sur- | 
rounding the | land with an in- | vincible | self-de- | fensive 
| might, | ^J and | in their un- | fading | brightness | render- 
ing | all | glory from | war | **j im- | possible. 

Sumner. 



EXERCISES. 261 



MAROT'S ODE TO HIS MISTRESS. 

TRANSLATED FROM CLEMENT MAROT, A FRENCH POET OF THE SIXTEENTH 
CENTURY. 

t 

A gentleness spread over a fair face, 

Passing in beauty the most beautiful ; 

A chaste eye, in whose light there lies no stain ; 

A frank discourse, so simple and so true 

That who should hear it, through an hundred years, 

Would never weary in that century; 

A lively wit ; a learning which makes marvel ; 

And such sweet gracefulness diffused o'er all, 

And ever present in her speech or silence ; 

That fain I would my power did suffice 

To pen her merit on this paper down, 

Even as it is written in my heart. 

And all these precious gifts, and thousands more, 

Cling to a body of high parentage ; 

And tall, and straight ; and formed in its fair stature 

As if it were to be at once adored 

By men and gods. ! would I were a prince ! 

That I might proffer to thee my poor service. 

Yet why a prince? Is not the gentle mountain 



262 GRAMMAR OF ELOCUTION. 

Often of aspect fairer than the crag ? 

Do not low olive-tree and humble rose 

Charm rather than the oak ? Is't not less peril 

To swim the streamlet than to stem the river ? 

I know I levy and defray no armies, 

I launch no fleets, whose prize might be a Helen' 

But if my fortune had endowed me so, 

I would have died or else have conquered thee. 

And if I am in fact no conqueror, 

Yet do my will and spirit make me one. 

My fame, like that of kings, fills provinces. 

If they o'ercome men in fair feats of arms, 

In my fair verse I overcome in turn. 

If they have treasure, I have treasure also ; 

And of such things as lie not in their coffers. 

If they are powerful, I hold more power, 

For I have that to make my love immortal. 

Nor this I say in vaunt, but strong desire 

That thou shouldst understand how never yet 

I saw thy match in this life of this world : 

Nor breathing being who the power owned 

Thus to make subject mine obedience. 



EXERCISES. 263 



THE STUDY OF ELOCUTION. 

It may be proper, in this place, to notice and briefly answer 
the objections which some excellent but prejudiced persons 
urge against the study of elocution. Some allege the study 
of this art generally induces a stiff, formal, mechanical, and 
affected manner of reading and speaking, at variance with the 
ease and truthfulness of nature. It is obvious that th j im- 
perfect, not to say preposterous, manner in which elocution is 
often taught, has given rise to this grave objection; for here, 
as in other arts and sciences, the baleful influence of quackery 
has been felt. The minds of youthful students are bewildered 
and quite repelled from the prosecution of this delightful 
study, in their attempts to comprehend the complicated dia- 
grams which teachers have framed for the purpose, no doubt, 
of displaying their inventive genius, and gaining popularity. 
The ambitious system of notation, how perplexiug to the mind 
of the neophyte ! and how repugnant to that genuine simpli- 
city and naturalness which lies at the foundation of all solid 
instruction. Hear the judicious Dr. Porter on this point: — 

" The reasonable prejudice which some intelligent men have 
felt against any system of notation, arises from the preposter- 



264 GRAMMAR OF ELOCUTION. 

ous extent to which it has been carried by a few popular 
teachers, and especially by their humble imitators. A judi- 
cious medium is what we want; five characters in music and 
six vowels in writing, enter into an infinitude of combinations, 
melody, and language. So the elementary modifications of 
voice, in speaking, are few, and easily understood; and to 
mark them, so far as distinction is useful, does not require a 
tenth part of the rules which some have thought necessary." 

Now, in view of these facts, we cease to wonder that even 
intelligent people should urge the objection under considera- 
tion. But let the objectors fully understand that the system 
they condemn is a "counterfeit presentment," a meretricious 
thing tricked out with tinsel ornaments to conceal its deformity 
and impose upon the credulous and unreflecting. How dif- 
ferent from that noble art which Cicero admired and practiced, 
and Quintilian taught — and which a few rare spirits in our 
own land have introduced in its native grandeur, efficiency, 
and grace ! 

Another objection to the study of elocution, which has fre- 
quently been made, is that it tends to produce a theatrical 
manner; and we know that a dread of incurring this imputa- 
tion acts as a powerful restraint on many public speakers. If 
by theatrical is meant " the start and stare practiced at the 
glass" — " noise and fury signifying nothing" — mouthing the 
words and " tearing the passion to tatters," I say, emphati- 
cally, "pray you, avoid it," for this is rank affectation, and an 
outrage upou the modesty of nature. The term theatrical 
has come by association, in the minds of many, to be con- 



EXERCISES. 265 

sidered as equivalent to rant and bluster, and violent gesticu- 
lation. 

Now, elocution teaches to observe a just medium between 
the sing-sing voice, the see-saw gesture, and the unimpas- 
sioned delivery which is sometimes witnessed in the senate 
and at the bar, but more generally in the pulpit, and the 
strong, diversified display of the theatre. 

By a proper attention to the study of elocution, is it not 
possible to acquire a just, impressive, and pleasing manner 
of delivery, consistent with the dignity of the senate, with 
the solemnity of the pulpit, yet perfectly free from that which 
is reprobated as theatrical ? 

By elocution the vocal organs are to be trained, and a pleas- 
ing and efficient delivery is to be acquired. To succeed in 
imparting these graces, the living teacher, a proficient in his 
art, must exemplify the tones and inflections of his voice in 
their endless variety, and the appropriate gestures used in 
reading and in speaking — and this will supersede, to a great 
extent, the necessity of ingenious but perplexing notations, 
and of all but a few important rules. 

Elocution labors to remove whatever is stiff, formal, affected, 
or artificial — whatever hinders the tone and graceful expres- 
sion of feeling, and makes every tone of the voice, and gesture 
of the body true to nature. Elocution is but the handmaid of 
nature, whose glory it is to follow this supreme directress ! 
Elocution makes all its teachings subservient to the expression 
of feeling — of genuine emotion. It teaches the reader and 
the speaker that the art he employs to secure the object he 
has in view, be it instruction, persuasion, or entertainment, 
23 



266 GRAMMAR OF ELOCUTION. 

must be carefully concealed. It teaches him that art is but 
the organ through which nature speaks, and that the highest 
achievement of art is to conceal art.* 

Dr. Longmore. 



REFLECTIONS AT SEA. 

Then, with her white sails courting the gale, did the 
queenly ship launch upon the deep, and as the breeze came 
lightly leaping the crested billows, she spread her white arms 
to meet it, and then a right merry race they ran over "the 
open sea." Or should the gale in maddened mood come 
lashing the waves in fury, and hurling them mountain high, 
as he rushed onward, shrieking in his rage, she bent meekly 
to his wrath, and gathering her white robes about her, passed, 
sighing, over the rough pathway his rage had wrought ! 

But now the proud ship bids defiance both to the angry 
winds and transverse seas, and with her iron will she walks 
the mighty deep, strong in her strength. Oh, the grandeur 
of the scene as I cast my eyes around — one mighty mass of 
waters ! and my heart thrilled with an awful sense of the 
majesty of God ! For a moment I closed my eyes — I could 
not look — I could not have spoken. 

* Ars est celare artem. 



EXERCISES. 267 

" The heavens declare the glory of God, and the firmament 
showeth his handy work." 

u Who layeth the beams of his chambers in the waters, who 
maketh the clouds his chariot, who walketh upon the wings 
of the wind I" 

I raised my eyes and looked upon this glorious expanse ; 
and I could not believe it possible for any one to doubt the 
existence of a God ! Let the skeptic, if such there be, stand 
here with me. Would he seek a more grand display of His 
power? — would he look for a higher manifestation of the 
Almighty ? 

Who is there that can view this broad, fathomless ocean, 
and not feel in his inmost soul that God is here ? That He 
rides in majesty upon the waves, upholding that glorious 
heaven above us ! That He setteth bounds to these rushing 
waters and sayeth to the winds, " Be still \" 

Mrs. C. H. Butler. 



ST. PETER'S. 

It is the sanctuary of space and silence. No throng can 
crowd these aisles ; no sound of voices or of organs can dis- 
place the venerable quiet that broods here. The Pope, who 
fills the world with all his pompous retinue, fills not St. Peter's ; 
and the roar of his quired singers, mingling with the sonorous 
chant of a host of priests and bishops, struggles for an instant 



268 'grammar of elocution. 

against this ocean of stillness, and then is absorbed into it like 
a faint echo. The mightiest ceremonies of human worship — 
celebrated by the earth's chief Pontiff, sweeping along in the 
magnificence of the most imposing array that the existing 
world can exhibit — seem dwindled into insignificance within 
this structure. They do not explain to our feelings the uses 
of the building. As you stand within the gorgeous, celestial 
dwelling — framed not for man's abode — the holy silence, the 
mysterious fragrance, the light of ever-burning lamps, suggest 
to you that is the home of invisible spirits — an outer court of 
Heaven, visited, perchance, in the deeper hours of a night 
that is never dark within its walls, by the all-sacred Awe 
itself. When you enter St. Peter's, Religion, as a local 
reality and a separate life, seems revealed to you. At every 
hour, over some part of the floor, worshippers may be seen 
kneeling, wrapt each in solitary penitence or adoration. The 
persons mystically habited, who journey noiselessly across the 
marble, bow and cross themselves, as they pass before this or 
that spot, betoken the recognition of something mysterious that 
is unseen, invisible. By day illuminated by rays only from 
above, by night always luminous within — filled by an atmo- 
sphere of its own, which changes not with the changing cold or 
heat of the seasons without — exhaling always a faint, delight- 
ful perfume — it is the realm of piety — the clime of devotion — 
a spiritual globe in the midst of the material universe. 

H. B. Wallace. 



EXERCISES 269 



"SHE HAD OUTLIVED HER USEFULNESS." 

Not long since, a good-looking man, in middle life, came 
to our door, asking for " the minister." When informed that 
he was out of town, he seemed disappointed and anxious. On 
being questioned as to his business, he replied, " I have lost 
my mother; and as this place used to be her home, and my 
father lies here, we have come to lay her beside him." 

Our heart rose in sympathy, and we said, " You have met 
with a great loss." "Well, yes," replied the strong man, 
with hesitancy; "a mother is a great loss in general; but our 
mother had outlived her usefulness. She was in her second 
childhood, and her mind was grown as weak as her body, so 
that she was no comfort to herself, and was a burden to every- 
body. There were seven of us sons and daughters ; and as we 
could not find anybody who was willing to board her, we 
agreed to keep her among us a year about. But I've had 
more than my share of her ; for she was too feeble to be moved 
when my time was out, and that was more than three months 
before her death. But then she was a good mother in her 
day, and toiled very hard to bring us all up." 

Without looking at the face of the heartless man, we directed 
him to the house of a neighboring pastor, and returned to our 
nursery. We gazed on the merry little faces which smiled or 
23* 



^70 GRAMMAR OF ELOCUTION. 

grew sad in imitation of ours — those little ones to whose ear 
no word in our language is half so sweet as "mother;" and 
we wondered if that day would ever come when they would 
say of us, " She has outlived her usefulness ; she is no comfort 
to herself, and a burden to everybody else ;" and we hoped 
that before such a day should dawn, we might be taken to our 
rest. God forbid that we should outlive the love of our child- 
ren. Rather let us die while our hearts are a part of their 
own, that our grave may be watered with their tears, and our 
love linked with their hopes of heaven. 

When the bell tolled for the mother's burial, we went to the 
sanctuary to pay our only token of respect to the aged stranger ; 
for we felt that we could give her memory a tear, even though 
her own children had none to shed. 

" She was a good mother in her day, and toiled hard to 
bring us all up !" " She was no comfort to herself, and a 
burden to everybody else !" These cruel, heartless words 
rang in our ears as we saw the coffin borne up the aisle. The 
bell tolled long and loud, until its iron tongue had chronicled 
the years of the toil-worn mother. One, two, three, four, five ! 
How clearly, and almost merrily, each stroke told of -her once 
peaceful slumber on her mother's bosom, and of her seat at 
nightfall on her weary father's knees. Six, seven, eight, nine, 
ten ! rang out the tale of her sports upon the green sward, in 
the meadow and by the brook. Eleven, twelve, thirteen, 
fourteen, fifteen ! spoke more gravely of school days, and little 
household joys and cares. Sixteen, seventeen, eighteen ! 
sounded out the enraptured visions of maidenhood, and the 
dream of early love. Nineteen brought before up the happy 



EXERCISES. 271 

bride. Twenty spoke of the young mother, whose heart was 
full to bursting with the new strong love which God had 
awakened in her bosom. And then stroke after stroke told of 
her early womanhood — of the love, and cares, and hopes, and 
fears, and toils, through which she had passed during these 
long years, till fifty rang out harsh and loud. From that to 
sixty, told of the warm-hearted mother and grandmother, liv- 
ing over again her own joys and sorrows in those of her child- 
ren. Every family of all the group wanted grandmother then, 
and the only strife was who should secure the prize. But, 
hark ! the bell tolls on ! Seventy, seventy-one, two, three, 
four ! She begins to grow feeble, requires some care, is not 
always perfectly patient or satisfied ; she goes from one child's 
house to another, so that no one place seems like home. She 
murmurs in plaintive tones, that after all her toil and weari- 
ness, it is hard she cannot be allowed a home to die in ; that 
she must be sent, rather than invited, from house to house. 
Eighty, eighty-one, two, three, four ! Ah ! she is now a second 
child — now "she has outlived her usefulness; she has ceased 
to be a comfort to herself or anybody;" that is, she has ceased 
to be profitable to her earth-craving and money-grasping 
children. 

Now sounds out, reverberating through our lovely forest, 
and echoing back from our " hill of the dead," eighty-nine ! 
There she lies now in the coffin, cold and still. She makes no 
trouble now, demands no love, no soft words, no tender little 
offices. A look of patient endurance, we fancied also an ex- 
pression of grief for unrequited love, sat on her marble fea- 
tures. Her children were there, clad in weeds of woe j and 



272 GRAMMAR OF ELOCUTION. 

in irony we remembered the strong man's words, u She was a 
good mother in her day." 

When the bell ceased tolling, the strange minister rose in 
the pulpit. His form was very erect, and his voice strong, 
but his hair was silvery white. He read several passages of 
Scripture expressive of God's compassion to feeble man, and 
especially of his tenderness when gray hairs are on him, and 
his strength faileth. He then made some touching remarks 
on human frailty, and of dependence on God, urging all present 
to make their peace with their Maker while in health, that 
they might claim his promises when heart and flesh should fail 
them. "Then," said he, "the eternal God shall be thy 
refuge, and beneath thee shall be the everlasting arms." 
Leaning over the desk, and gazing intently on the coffined 
form before him, he then said reverently, " From a little child 
I have honored the aged ; but never till gray hairs covered my 
own head did I know truly how much love and sympathy this 
class have a right to demand of their fellow-creatures. Now 
I feel it. Our mother," he added most tenderly, " who now 
lies in death before us, was a stranger to me, as are all these, 
her descendants. All I know of her is what her son told me 
to-day — that she was brought to this town from afar, sixty- 
nine years ago, a happy bride ; that here she passed most of 
her life, toiling, as only mothers ever have strength to toil, 
until she had reared a large family of sons and daughters ; that 
she left her home here clad in the weeds of widowhood, to 
dwell among her children ; and that till health and vigor left 
her, she lived for you her descendants. 

" You, who together have shared her love and her care, 



EXERCISES. 273 

know how well you have requited her. God forbid that con- 
science should accuse any of you of ingratitude or murmuring 
on account of the care she has been to you of late. When 
you go back to your homes, be careful of your words and your 
example before your children, for the fruit of your own doing 
you will surely reap from them when you yourselves totter on 
the brink of the grave. 

"I entreat you as a friend — as one who has himself entered 
the ' evening of life' — that you may never say, in the presence 
of your families, nor of Heaven, ' our mother had outlived her 
usefulness — she was a burden to us/ Never ! Never ! A 
mother cannot live so long as that ! No ; when she can no 
longer labor for her children, nor yet take care of herself, she 
can fall like a precious weight upon their bosoms, and call 
forth by her helplessness all the noble, generous feelings of 
their natures. 

"Adieu, then, poor toil-worn mother; there are no more 
sleepless nights, no more days of pain for thee. Undying 
vigor and everlasting usefulness are part of the inheritance of 
the redeemed. Feeble as thou wert on earth, thou wilt be no 
burden on the bosom of Infinite Love ; but there thou shalt 
find thy longed-for rest, and receive glorious sympathy from 
Jesus and his ransomed fold." 



274 GRAMMAR OF ELOCUTION. 



ABOU BEN ADHEM. 

Abou Ben Adhem (may his tribe increase !) 
Awoke one night from a deep dream of peace, 
And saw within the moonlight of his room, 
Making it rich, and like a lily in bloom, 
An angel writing in a book of gold : — 
Exceeding peace had made Ben Adhem bold, 
And to the presence in the room he said, 
" What writest thou V 1 The vision raised its head, 
And with a look made of all sweet accord, 
Answered, " The names of those who love the Lord !" 
"And is mine one?" said Abou. "Nay, not so," 
Replied the angel. Abou spoke more low, 
But cheerly still ; and said, " I pray thee, then, 
Write me as one who loves his fellow men !" 

The angel wrote and vanished. The next night 
It came again, with a great wakening light, 
And showed the names whom love of God had bless' d, 
And lo ! Ben Adhem's name led all the rest. 

Leigh Hunt. 



EXERCISES, 275 



MY NATIVE LAND. 

Adieu ! adieu ! my native shore 

Fades o'er the waters blue, 
The night winds sigh, the breakers roar, 

And shrieks the wild sea-mew. 
Yon sun that sets upon the sea, 

We follow in his flight : 
Farewell awhile to him and thee, 

My native land, good night. 

With thee, my bark, I'll swiftly go 

Athwart the foaming brine, 
Nor care what land thou bear'st me to, 

So not again to mine. 
Welcome, welcome, ye dark blue waves I 

And when ye fail my sight, 
Welcome, ye deserts and ye caves ! 

My native land, good night. 

Byron. 



276 GRAMMAR OF ELOCUTION. 



SPEAK GENTLY. 

Speak gently ; it is better far 

To rule by love than fear ; 
Speak gently ; let not harsh words mar 

The good we might do here. 

Speak gently; love doth whisper low, 
The vow that true hearts bind ; 

And gently friendship's accents flow, — 
Affection's voice is kind. 

Speak gently to the little child, 

Its love be sure to gain; 
Teach it in accents soft and mild, 

It may not long remain. 

Speak gently to the aged one, 
Grieve not the care-worn heart ; 

The sands of life are nearly run — 
Let such in peace depart. 

Speak gently to the young, for they 
Will have enough to bear ; 



EXERCISES. 277 

Pass through this life as best they may, 
'Tis full of anxious care. 

Speak gently, kindly, to the poor, 

Let no harsh tones he heard ; 
They have enough they must endure, 

Without an unkind word. 

Speak gently to the erring ; know 

They may have toiled in vain ; 
Perchance unkindness made them so — 

Oh, win them back again. 

Speak gently; He who gave his life 

To bend man's stubborn will, 
When elements were in fierce strife, 

Said to them, " Peace, be still I" 

Speak gently; 'tis a little thing 

Dropped in the heart's deep well ; 
The good, the joy, which it may bring, 

Eternity shall tell. 

Anonymous. 



24 



278 ORAM MAR OF ELOCUTION. 



JAFFAR. 

INSCRIBED TO THE MEMORY OF SHELLEY. 

Shelley, take this to thy dear memory : — 
To praise the generous is to think of thee. 

Jaffar the Barmecide, the good vizier, 

The poor man's hope, the friend without a peer, 

Jaffar was dead ! slain by a doom unjust; 

And guilty Haroun, sullen with mistrust 

Of what the good and e'en the bad might say, 

Ordained that no man living from that day 

Should dare to speak his name on pain of death.— 

All Araby and Persia held their breath. 

All but the brave Mondeer. He, proud to show 
How far for love a grateful soul could go, 
And facing death for very scorn and grief, 
(For his great heart wanted a great relief,) 
Stood forth iu Bagdad, daily, in the square 
Where once had stood a happy house ; and there 
Harangued the tremblers at the scymitar, 
On all they owed to the divine Jaffar. 



EXERCISES. 279 

" Briug me this man," the caliph cried. The man 

Was brought — was gazed upon. The mutes began 

To bind his arms. " "Welcome, brave cords!" cried he; 

" From bonds far worse Jaffar delivered me ; 

From wants, from shames, from loveless household fears. 

Made a man's eyes friends with delicious tears; 

Restored me — loved me — put me on a par 

With his great self. How can I pay Jaffar V 

Haroun, who felt that on a soul like this 

The mightiest vengeance could but fall amiss, 

Now deigned to smile, as one great lord of fate, 

Might smile upon another half as great. 

He said, " Let worth grow frenzied, if it will ; 

The caliph's judgment shall be master still. 

Go : and since gifts thus move thee, take this gem, 

The richest in the Tartar's diadem, 

And hold the giver as thou deemest fit." 

" Gifts !" cried the friend. He took ; and holding it 
High towards the heavens, as though to meet his star, 
Exclaimed, " This, too, I owe to thee, Jaffar !" 

Leigh Hunt 



280 GRAMMAR OF ELOCUTION. 



CLARENCE'S DREAM. 

Brakenbury. Why looks your grace so heavily to-day ? 

Clarence. 0, I have passed a miserable night, 
So full of fearful dreams, of ugly sights, 
That as I am a Christian faithful man, 
I would not spend another such a night, 
Though 'twere to buy a world of happy days; 
So full of dismal terror was the time. 

Brak. What was your dream, my lord ? I pray you, tell 
me. 

Clar. Methought, that I had broken from the Tower, 
And was embarked to cross to Burgundy , 
And, in my company, my brother Gloster; 
Who from my cabin tempted me to walk 
Upon the hatches ; thence we looked toward England, 
And cited up a thousand heavy times, 
During the wars of York and Lancaster 
That had befall'n us. As we paced along 
Upon the giddy footing of the hatches, 
Methought, that Gloster stumbled ; and, in falling, 
Struck me, that thought to stay him, overboard, 
Into the tumbling billows of the main. 
O Lord ! methought, what pain it was to drown ! 



EXERCISES. 281 

What dreadful noise of water in mine ears ! 
What sights of ugly death within mine eyes ! 
Methought, I saw a thousand fearful wrecks ; 
A thousand men, that fishes gnawed upon; 
Wedges of gold, great anchors, heaps of pearl, 
Inestimable stones, unvalued jewels, 
All scattered in the bottom of the sea. 
Some lay in dead men's skulls; and, in those holes 
Where eyes did once inhabit, there were crept 
(As 'twere in scorn of eyes) reflecting gems, 
That wooed the slimy bottom of the deep, 
And mocked the dead bones that lay scattered by. 

Brak. Had you such leisure in the time of death 
To gaze upon these secrets of the deep ? 

Clar. Methought, I had ; and often did I strive 
To yield the ghost ; but still the envious flood 
Kept in my soul, and would not let it forth 
To seek the empty, vast, and wandering air ; 
But smothered it within my panting bulk, 
Which almost burst to belch it in the sea. 

Brak. Awaked you not with this sore agony ? 

Clar. 0, no, my dream was lengthened after life; 
0, then began the tempest to my soul ! 
I passed, methought, the melancholy flood, 
With that grim ferryman, which poets write of, 
Unto the kingdom of perpetual night. 
The first that there did greet my stranger soul 
Was my great father-in-law, renowned Warwick, 
Who cried aloud, — What scourge for perjury 
24* 



282 GRAMMAR OF ELOCUTION. 

Can this dark monarchy afford false Clarence '( 
And so he vanished. Then came wandering by 
A shadow like an angel, with bright hair 
Dabbled in blood ; and he shrieked out aloud, — 
Clarence is come, false, fleeting, perjured Clarence, 
That stabbed me in the field by Tewksbury : — 
Seize on him, furies, take him to your torments ! — 
"With that, methought a legion of foul fiends 
Environed me, and howled in mine ears 
Such hideous cries, that, with the very noise, 
I trembling waked, and for a season after, 
Could not believe but that I was in hell ; 
Such terrible impression made my dream. 

Beak. No marvel, lord, that it affrighted you ; 
I am afraid, methinks, to hear you tell it. 

Clar. 0, Brakenbury, I have done these things, — 
That now give evidence against my soul, — 
For Edward's sake ; and, see, how he requites me ! — 
I pray thee, gentle keeper, stay by me ; 
My soul is heavy, and I fain would sleep. 

Brak. I will, my lord. — 
Sorrow breaks seasons, and reposing hours, 
Makes the night morning, and the noon-tide night. 
Princes have but their titles for their glories, 
An outward honor for an inward toil ; 
And, for unfelt imaginations, 
They often feel a world of restless cares ; 
So that, between their titles, and low name, 
There's nothing differs but the outward fame. 

SHAK^rEARE. 



EXERCISES. 283 



KING CLAUDIUS' SOLILOQUY. 

O, my offence is rank, it smells to heaven ; 

It hath the primal eldest curse upon 't, 

A brother's murder ! — Pray can I not, 

Though inclination be as sharp as will ; 

My stronger guilt defeats my strong intent ; 

And, like a man to double business bound, 

I stand in pause where I shall first begin, 

And both neglect. What if this cursed hand 

Were thicker than itself with brother's blood ? 

Is there not rain enough in the sweet heavens, 

To wash it white as snow ? Whereto serves mercy, 

But to confront the visage of offence ? 

And what's in prayer, but this two-fold force, — 

To be forestalled, ere we come to fall, 

Or pardoned, being down ? Then I'll look up ; 

My fault is past. But, 0, what form of prayer 

Can serve my turn ? Forgive me my foul murder !- 

That cannot be -, since I am still possessed 

Of those effects for which I did the murder, 

My crown, mine own ambition, and my queen. 

May one be pardoned, and retain the offence ? 



284 GRAMMAR OF ELOCUTION. 

In the corrupted currents of this world, 

Offence's gilded hand may shove by justice; 

And oft 'tis seen, the wicked prize itself 

Buys out the law : But 'tis not so above : 

There is no shuffling, there the action lies 

In his true nature ; and we ourselves compelled, 

Even to the teeth and forehead of our faults, 

To give in evidence. What then ? what rests? 

Try what repentance can : What can it not ? 

Yet what can it, when one cannot repent ? 

wretched state ! bosom, black as death ! 

limed soul ', that struggling to be free, 

Art more engaged ! Help, angels, make assay ! 

Bow, stubborn knees ! and, heart, with strings of steel, 

Be soft as sinews of the new-born babe j 

All may be well ! 

Shakspeare. 



HAMLET'S SOLILOQUY. 

0, what a rogue and peasant slave am I ! 
Is it not monstrous, that this player here, 
But in a fiction, in a dream of passion, 
Could force his soul so to his own conceit, 
That from her working all his visage wanned ; 



EXERCISES. 285 

Tears in his eyes, distraction in 's aspect, 

A broken voice, and his whole function suiting 

With forms to his conceit ? and all for nothing ! 

For Hecuba ! 

What's Hecuba to him, or he to Hecuba, 

That he should weep for her ? What would he do, 

Had he the motive and the cue for passion, 

That I have ? He would drown the stage with tears, 

And cleave the general ear with horrid speech ; 

Make mad the guilty, and appal the free, 

Confound the ignorant ; and amaze, indeed, 

The very faculties of eyes and ears. 

Yet I, 

A dull and muddy-mettled rascal, peak, 

Like John-a-dreams, unpregnant of my cause, 

And can say nothing ; no, not for a king, 

Upon whose property, and most dear life, 

A damn'd defeat was made. Am I a coward ? 

Who calls me villain ? breaks my pate across ? 

Plucks off my beard, and blows it in my face ? 

Tweaks me by the nose ? gives me the lie i' the throat, 

As deep as to the lungs ? Who does me this ? 

Ha! 

Why, I should take it : for it cannot be, 

But I am pigeon-livered and lack gall, 

To make oppression bitter ; or, ere this, 

I should have fatted all the region kites 

With this slave's offal : 



28(5 GRAMMAR OF ELOCUTION. 

* * * * * * 

****** 

Fye upon't ! foh ! About my brains ! Humph ! I have heard, 

That guilty creatures sitting at a play, 

Have by the very cunning of the scene 

Been struck so to the soul, that presently 

They have proclaimed their malefactions ; 

For murder, though it have no tongue, will speak 

With most miraculous organ. I'll have these players 

Play something like the murder of my father, 

Before mine uncle : I'll observe his looks ; 

I'll tent him to the quick ; if he do blench, 

I know my course. The spirit that I have seen, 

May be a devil : and the devil hath power 

To assume a pleasing shape ; yea, and, perhaps, 

Out of my weakness, and my melancholy, 

(As he is very potent with such spirits,) 

Abuses me to damn me : I'll have grounds 

More relative than this : the play's the thing, 

Wherein I'll catch the conscience of the king. 

Shakspeare. 



EXERCISES, 287 



GARDEN SCENE FROM ROMEO AND JULIET. 

Enter Romeo. 
Romeo. He jests at scars, that never felt a wound. — 

(Juliet appears above, at the window.') 
But, soft ! what light through yonder window breaks ? 
It is the east, and Juliet is the sun ! — 
Arise, fair sun, and kill the envious moon, 
Who is already sick and pale with grief, 
That thou her maid art far more fair than she. 
Be not her maid, since she is envious ; 
Her vestal livery is but sick and green, 
And none but fools do wear it ; cast it off. — 
It is my lady ; O, it is my love : 
O, that she knew she were ! — 
She speaks, yet she says nothing ; What of that ? 
Her eye discourses, I will aDswer it. 
I am too bold, 'tis not to me she speaks : 
Two of the fairest stars in all the heaven, 
Having some business, do entreat her eyes 
To twinkle in their spheres till they return. 
What if her eyes were there, they in her head ? 
The brightness of her cheek would shame those stars, 
As daylight doth a lamp; her eye in heaven 



288 GRAMMAR OF ELOCUTION. 

Would through the airy region stream so bright, 
That birds would sing, and think it were not night. 
See, how she leans her cheek upon her hand ? 
0, that I were a glove upon that hand, 
That I might touch that cheek ! 

Jul. Ah me ! 

Rom. She speaks : — 

0, speak again, bright angel ! for thou art 
As glorious to this night, being o'er my head, 
As is a winged messenger of heaven 
Unto the white-upturned wondering eyes 
Of mortals, that fall back to gaze on him, 
When he bestrides the lazy-pacing clouds, 
And sails upon the bosom of the air. 

Jul. 0, Romeo, Romeo ! wherefore art thou Romeo ? 
Deny thy father, and refuse thy name : 
Or, if thou wilt not, be but sworn my love, 
And I'll no longer be a Capulet. 

Rom. Shall I hear more, or shall I speak at this ? [Aside. 

Jul. 'Tis but thy name, that is my enemy. 
# * # * 

What's in a name ? that which we call a rose, 

By any other name would smell as sweet ; 

So Romeo would, were he not Romeo called, 

Retain that dear perfection which he owes, 

Without that title : — Romeo, doff thy name ; 

And for that name, which is no part of thee, 

Take all myself. 

Rom. I take thee at thy word : 



EXERCISES. 289 

Call me but love, and I'll be new baptized; 
Henceforth I never will be Romeo. 

Jul. What man art thou, that, thus bescreened in night, 
So stumblest on my counsel ? 

Rom. By a name 

I know not how to tell thee who I am : 
My name, dear saint, is hateful to myself, 
Because it is an enemy to thee ; 
Had I it written, I would tear the word. 

Jul. My ears have not yet drunk a hundred words 
Of that tongue's utterance, yet I know the sound ; 
Art thou not Romeo, and a Montague ? 

Rom. Neither, fair saint, if either thee dislike. 

Jul. How cam'st thou hither, tell me ? and wherefore ? 
The orchard walls are high, and hard to climb ) 
And the place death, considering who thou art, 
If any of my kinsmen find thee here. 

Rom. With love's light wings did I o'er-perch these walls ; 
For stony limits cannot hold love out ; 
And what love can do, that dares love attempt ; 
Therefore thy kinsmen are no let to me. 

Jul. If they do see thee, they will murder thee. 

Rom. Alack ! there lies more peril in thine eye, 
Than twenty of their swords ; look thou but sweet, 
And I am proof against their enmity. 

Jul. I would not for the world, they saw thee here. 

Rom. I have night's cloak to hide me from their sight ; 
And, but thou love me, let them find me here *. 
My life were better ended by their hate, 
25 



290 GRAMMAR OF ELOCUTION. 

Than death prorogued, wanting of thy love. 

Jul. By whose direction found'st thou out this place ? 

Rom. By love, who first did prompt me to inquire ; 
He lent me counsel, and I lent him eyes. 
I am no pilot; yet, wert thou as far 
As that vast shore washed with the furthest sea, 
I would adventure for such merchandise. 

Jul. Thou know'st, the mask of night is on my face ; 
Else would a maiden blush bepaint my cheek, 
For that which thou hast heard me speak to-night. 
Fain would I dwell on form, fain, fain deny 
What I have spoke ; But farewell compliment ! 
Dost thou love me ? I know, thou wilt say — Ay ; 
And I will take thy word : yet, if thou swear* st, 
Thou niay'st prove false ; at lovers' perjuries, 
They say, Jove laughs. O, gentle Romeo, 
If thou dost love, pronounce it faithfully : 
Or if thou think'st I am too quickly won, 
I'll frown, and be perverse, and say thee nay, 
So thou wilt woo; but, else, not for the world. 
In truth, fair Montague, I am too fond ; 
And therefore thou may'st think my haviour light : 
But trust me, gentleman, I'll prove more true 
Than those that have more cunning to be strange. 
I should have been more strange, I must confess, 
But that thou over-heard'st, ere I was ware, 
My true love's passion : therefore pardon me ; 
And not impute this yielding, to light love, 
Which the dark ni^ht hath so discovered. 



^ EXERCISES. 291 

Rom. Lady, by yonder blessed moon I swear, 
That tips with silver all these fruit-tree tops, — 

Jul. 0, swear not by the moon, the inconstant moon 
That monthly changes in her circled orb, 
Lest that thy love prove likewise variable. 

Rom. What shall I swear by ? 

Jul. Do not swear at all; 

Or, if thou wilt, swear by thy gracious self, 
Which is the god of my idolatry, 
And I'll believe thee. 

Rom. If my heart's dear love — 

Jul. Well, do not swear : although I joy in thee, 
I have no joy of this contract to-night : 
It is too rash, too unadvised, too sudden ; 
Too like the lightning, which doth cease to be, 
Ere one can say — It lightens. Sweet, good night ! 
This bud of love, by summer's ripening breath, 
May prove a beauteous flower when next we meet. 
Good night, good night ! as sweet repose and rest 
Come to thy heart, as that within my breast ! 

Rom. 0, wilt thou leave me so unsatisfied ? 

Jul. What satisfaction canst thou have to-night? 

Rom. The exchange of thy love's faithful vow for mine. 

Jul. I gave thee mine before thou didst request it : 
And yet I would it were to give again. 

Rom. Would' st thou withdraw it ? for what purpose, love ? 

Jul. But to be frank, and give it thee again. 
And yet I wish but for the thing I have : 
My bounty is as boundless as the sea, 



292 GRAMMAR OF ELOCUTION. 

My love as deep ; the more I give to thee, 
The more I have, for both are infinite. 

[Nurse calls within. 
I hear some noise within ; Dear love, adieu ! 
Anon, good nurse ! — Sweet Montague, be true. 
Stay but a little, I will come again. [Exit. 

Rom. O blessed, blessed night ! I am afeard, 
Being in night, all this is but a dream, 
Too flattering-sweet to be substantial. 

Re-enter Juliet, above. 

Jul. Three words, dear Romeo, and good night, indeed. 
If that thy bent of love be honorable, 
Thy purpose marriage, send me word to-morrow, 
By one that I'll procure to come to thee, 
Where, and what time, thou wilt perform the rite; 
And all my fortunes at thy foot I'll lay, 
And follow thee my lord throughout the world. 

Nurse. [ Within.'] Madam. 

Jul. I come, anon : — But if thou mean'st not well, 
I do beseech thee, — v 

Nurse. [ Within.] Madam. 

Jul. By and by, I come : — 

To cease thy suit, and leave me to my grief : 
To-morrow will I send. 

Rom. So thrive my soul, — 

Jul. A thousand times good night ! [Exit. 

Rom. A thousand times the worse, to want thy light. — 



EXERCISES. 293 

Love goes towards love, as school-boys from their books ; 
But love from love, toward school with heavy looks. 

[Retiring slowly. 

Re-enter Juliet, above. 

Jul. Hist ! Borneo, hist ! — 0, for a falconer's voice, 
To lure this tassel-gentle back again ! 
Bondage is hoarse, and may not speak aloud j 
Else would I tear the cave where echo lies, 
And make her airy tongue more hoarse than mine 
"With repetition of my Romeo's name. 

Bom. It is my soul, that calls upon my name : 
How silver sweet sound lovers' tongues by night, 
Like softest music to attending ears ! 

Jul. Borneo ! 

Bom. My sweet ! 

Jul. At what o'clock to-morrow 

Shall I send to thee ? 

Bom. At the hour of nine. 

Jul. I will not fail ; 'tis twenty years till then. 
I have forgot why I did call thee back. 

Bom. Let me stand here till thou remember it. 

Jul. I shall forget, to have thee still stand there, 
Bemembering how I love thy company. 

Bom. And I'll still stay, to have thee still forget, 
Forgetting any other home but this. 

Jul. "lis almost morning, I would have thee gone : 
And yet no further than a wanton's bird; 
Who lets it hop a little from her hand, 
25* 



294 GRAMMAR OF ELOCUTION. 

Like a poor prisoner in his twisted gyves, 
And with a silk thread plucks it back again, 
So loving-jealous of his liberty. 

Rom. I would I were thy bird. 

Jul. Sweet, so would I : 

Yet I should kill thee with much cherishing. 
Good night, good night ! parting is such sweet sorrow, 
That I shall say — good night, till it be morrow. 

Shakspeare. 



HEADING WITH SPECTACLES. 

A certain artist — I've forgot his name — 

Had got for making spectacles a fame ; 

Or " Helps to read," as, when they first were sold, 

Was writ upon his glaring sign, in gold; 

And, for all uses to be had from glass, 

His were allowed by readers to surpass. 

There came a man into his shop one day : — 

"Are you the spectacle contriver, pray?" 

"Yes, sir," said he; "I can in that affair 

Contrive to please you, if you want a pair." 

"Can you? — pray do, then." So, at first, he chose 

To place a youngish pair upon his nose : 

And book produced, to see how they would fit; 



EXERCISES. 295 

" These, sir, I fancy, if you please to try, 

These in my hand will better suit your eye." 

" No, but they don't." " Well, come, sir, if you please, 

Here is another sort; we'll e'en try these; 

Still somewhat more they magnify the letter. 

Now, sir !" " Why, now I'm not a bit the better." 

" No ! — here, take these, that magnify still more. 

How do they fit ?" " Like all the rest before." 

In short, they tried a whole assortment through, 

But all in vain, for none of 'em would do. 

The operator, much surprised to find 

So odd a case, thought, sure the man is blind : 

"What sort of eyes can you have got?" said he. 

" Why, very good ones, friend, as you may see." 

" Yes, I perceive the clearness of the ball ; — 

Pray, let me ask you, can you read at all ?" 

" No, you great blockhead ! If I could, what need 

Of paying you for any ' Helps to read ?' " 

And so he left the maker in a heat, 

Resolved to post him for an arrant cheat. 

Anonymous. 



296 GRAMMAR OF ELOCUTION. 



THE APPLE-DUMPLINGS AND GEORGE III. 

Once in the chase, this monarch drooping, 

From his high consequence and wisdom stooping, 
Entered, through curiosity, a cot, 
Where an old crone was hanging on the pot. 

The wrinkled, blear-eyed, good old granny, 

In this same cot, illumed by many a cranny, 
Had apple-dumplings ready for the pot; 

In tempting row the naked dumplings lay, 

When, lo ! the monarch, in his usual way, 

Like lightning asked, " What's here ? — what's here ?- 
what ? — what ? — what ? — what V 

Then, taking up a dumpling in his hand, 

His eyes with admiration did expand — 

And oft did majesty the dumpling grapple; 
"'Tis monstrous, monstrous, monstrous hard," he cried; 
" What makes the thing so hard ?" The dame replied, 
Low courtesying, "Please your majesty, the apple." 
" Very astonishing, indeed ! strange thing I" 
(Turning the dumpling round) rejoined the king; 
" 'Tis most extraordinary now, all this is — 
It beats the conjurer's capers all to pieces^ 



EXERCISES. 297 

Strange I should never of a dumpling dream. — 

But, G-oody, tell me, where, where, where' s the seam V* 

" Sire, there's no seam," quoth she. " I never knew 

That folks did apple-dumplings sew V 

a No !" cried the staring monarch, with a grin, 

u Then where, where, where, pray, got the apple in ?" 

WOLCOT. 



THE END. 



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